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For four hundred years--from the first Spanish assaults against the Arawak people of Hispaniola in the 1490s to the U.S. Army's massacre of Sioux Indians at Wounded Knee in the 1890s--the indigenous inhabitants of North and South America endured an unending firestorm of violence. During that time the native population of the Western Hemisphere declined by as many as 100 million people. Indeed, as historian David E. Stannard argues in this stunning new book, the European and white American destruction of the native peoples of the Americas was the most massive act of genocide in the history of the world. Stannard begins with a portrait of the enormous richness and diversity of life in the Americas prior to Columbus's fateful voyage in 1492. He then follows the path of genocide from the Indies to Mexico and Central and South America, then north to Florida, Virginia, and New England, and finally out across the Great Plains and Southwest to California and the North Pacific Coast. Stannard reveals that wherever Europeans or white Americans went, the native people were caught between imported plagues and barbarous atrocities, typically resulting in the annihilation of 95 percent of their populations. What kind of people, he asks, do such horrendous things to others? His highly provocative answer: Christians. Digging deeply into ancient European and Christian attitudes toward sex, race, and war, he finds the cultural ground well prepared by the end of the Middle Ages for the centuries-long genocide campaign that Europeans and their descendants launched--and in places continue to wage--against the New World's original inhabitants. Advancing a thesis that is sure to create much controversy, Stannard contends that the perpetrators of the American Holocaust drew on the same ideological wellspring as did the later architects of the Nazi Holocaust. It is an ideology that remains dangerously alive today, he adds, and one that in recent years has surfaced in American justifications for large-scale military intervention in Southeast Asia and the Middle East. At once sweeping in scope and meticulously detailed, American Holocaust is a work of impassioned scholarship that is certain to ignite intense historical and moral debate.
Bulfinch's Mythology is a compilation of general audience works by Latinist Thomas Bulfinch. It delves into the roots and stories within classical mythologies all around the world.
In 'History of the Fan' by G. Woolliscroft Rhead, readers are taken on a fascinating journey through the cultural and historical significance of fans. This detailed account explores the evolution of fans from practical tools to symbols of status and fashion, illuminating their significance in various societies. Rhead's writing style is engaging and informative, making this book a valuable resource for anyone interested in the social history of everyday objects. The author's meticulous research and attention to detail provide a comprehensive overview of the fan's role in different cultures and time periods. G. Woolliscroft Rhead, a renowned expert in decorative arts and material culture, brings his expertise to 'History of the Fan' by delving into the rich history and symbolism of this often overlooked accessory. Rhead's extensive knowledge and passion for the subject shine through in his meticulous exploration of the fan's evolution and cultural significance. I highly recommend 'History of the Fan' to readers interested in cultural history, decorative arts, or fashion studies. Rhead's thorough examination of this everyday object sheds light on its often overlooked importance and provides valuable insights into the social and cultural dynamics surrounding it.
Are you missing half the story about the last days? Virtually all attention these days is focused on the coming Antichrist—but he is only half the story. Many people are amazed to discover in Revelation 17 that there is also another mysterious character at the heart of prophecy—a woman who rides the beast. Who is this woman? Tradition says she is connected with the church of Rome. But isn’t such a view outdated? After all, today’s Vatican is eager to join hands with Protestants worldwide. “The Catholic church has changed” is what we hear. Or has it? In A Woman Rides the Beast, prophecy expert Dave Hunt sifts through biblical truth and global events to present a well-defined portrait of the woman and her powerful place in the Antichrist’s future empire. Eight remarkable clues in Revelation 17 and 18 prove the woman’s identity beyond any reasonable doubt. A provocative account of what the Bible tells us is to come.
In the fall of 1899, Charles A.A. Dellschau (1830-1923), a retired butcher from Houston, embarked on a project that would occupy him for more than 20 years. What began as an illustrated manuscript recounting his experiences in the California Gold Rush became an obsessive project resulting in 12 large, hand-bound books with more than 2,500 drawings related to airships and the development of flight. Dellschau's designs resemble traditional hot air balloons augmented with fantastic visual details, collage and text. The hand-drawn "Aeros" were interspersed with collaged pages called "Press Blooms," featuring thousands of newspaper clippings related to the political events and technological advances of the period. After the artist's death in 1923, the books were stored in the attic of the family home in Houston. In the aftermath of a fire in the 1960s, they were dumped on the sidewalk and salvaged by a junk dealer. Eight made their way into the collections of the San Antonio Museum of Art, the Witte Museum and the Menil Collection; the remainder were sold to a private collector. Dellschau's works have since been collected by numerous other museums including the American Folk Art Museum, the High Museum, the John Michael Kohler Arts Center and the Philadelphia Museum of Art. Like the eccentric outpourings of Adolf Wölfli, Henry Darger and Achilles Rizzoli, these private works were not created for the art world, but to satisfy a driving internal creative force. Dreamer, optimist and visionary, Charles Dellschau is one of the earliest documented outsider artists known in America. This first monograph on Dellschau includes an essay by art critic Thomas McEvilley, an essay by critic Roger Cardinal of the University of Kent, a text by James Brett of the Museum of Everything in London, an essay by Tom Crouch of the Smithsonian Institution's Museum of Air and Space, an essay by Barbara Safarova and a biographical overview by artist and independent curator Tracy Baker-White.