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The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
The fourth estate.
Includes the Aerial Warfare In Europe During World War II illustrations pack with over 180 maps, plans, and photos. Gen Henry H. “Hap.” Arnold, US Army Air Forces (AAF) Chief of Staff during World War II, maintained diaries for his several journeys to various meetings and conferences throughout the conflict. Volume 1 introduces Hap Arnold, the setting for five of his journeys, the diaries he kept, and evaluations of those journeys and their consequences. General Arnold’s travels brought him into strategy meetings and personal conversations with virtually all leaders of Allied forces as well as many AAF troops around the world. He recorded his impressions, feelings, and expectations in his diaries. Maj Gen John W. Huston, USAF, retired, has captured the essence of Henry H. Hap Arnold—the man, the officer, the AAF chief, and his mission. Volume 2 encompasses General Arnold’s final seven journeys and the diaries he kept therein.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.