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Winner of the 2004 Annual Archives Award for Excellence in Research Using the Holdings of the New York State Archives presented by the Board of Regents and the New State York Archives Beverwijck explores the rich history and Dutch heritage of one of North America's oldest cities—Albany, New York. Drawing on documents translated from the colonial Dutch as well as maps, architectural drawings, and English-language sources, Janny Venema paints a lively picture of everyday life in colonial America. In 1652, Petrus Stuyvesant, director general of New Netherland, established a court at Fort Orange, on the west side of New York State's upper Hudson River. The area within three thousand feet of the fort became the village of Beverwijck. From the time of its establishment until 1664, when the English conquered New Netherland and changed the name of the settlement to Albany, Beverwijck underwent rapid development as newly wealthy traders, craftsmen, and other workers built houses, roads, bridges, and a school, as well as a number of inns. A well-organized system of poor relief also helped less wealthy settlers survive in the harsh colonial conditions. Venema's careful research shows that although Beverwijck resembled villages in the Dutch Republic in many ways, it quickly took on features of the new, "American" society that was already coming into being.
Historical Archaeology of New York City is a collection of narratives about people who lived in New York City during the seventeenth, eighteenth, and nineteenth centuries, people whose lives archaeologists have encountered during excavations at sites where these people lived or worked. The stories are ethnohistorical or microhistorical studies created using archaeological and documentary data. As microhistories, they are concerned with particular people living at particular times in the past within the framework of world events. The world events framework will be provided in short introductions to chapters grouped by time periods and themes. The foreword by Mary Beaudry and the afterword by LuAnne DeCunzo bookend the individual case studies and add theoretical weight to the volume. Historical Archaeology of New York City focuses on specific individual life stories, or stories of groups of people, as a way to present archaeological theory and research. Archaeologists work with material culture—artifacts—to recreate daily lives and study how culture works; this book is an example of how to do this in a way that can attract people interested in history as well as in anthropological theory.
Drawing on the latest research, leading scholars shed new light on the culture, society, and legacy of the New Netherland colony.
Jacob Leisler has been more an icon in historical writing than a person. That the icon has served very different groups over the centuries only shows that is has had little to do with the real person. In his own century he was both the fanatical and villainous despot and the martyred hero. In later times he was a forerunner of American democracy, and a symbol of colonial rebelliousness. He has also been pilloried in the Catholic press, not without justification, although Catholics were not among those treated most harshly during his administration. To Marxist theoreticians he was a voice for the proletariat; to National Socialist propagandists he was a German martyr. In short, much that has been written about Leisler has had to do with the interests of various groups and causes, many of them unrelated, or only distantly related, to anything happening in Leisler's time. It is only today that articles and books are beginning to appear in which his career is examined dispassionately. Many of the untruths are so ingrained that one must almost begin by saying what is not true before going on to discuss what is true about Leisler. Suffice it to say that, despite a long tradition of popular writing that he was base-born, resentful of being outside the mainstream of colonial life and commerce, and failing in his enterprises, he none of these. For much of our enlightenment we are indebted to the research by David William Voorhees, who has assembled copies of several thousand documents from private institutions and government archives from throughout Europe and North America.
Founded in 1791, the Albany Institute of History and Art is one of the nation's oldest cultural institutions. Today, it boasts outstanding collections largely focused on New York State's Upper Hudson Valley. These include Hudson River School landscape paintings, portraits by Ezra Ames and Charles Loring Elliott, sculpture by Erastus Dow Palmer, landscape and interior paintings by Walter Launt Palmer, and Albany –made silver and other crafts. This comprehensive overview of the Albany Institute of History and Art's American art and decorative-arts collections, presents color plates and essays on about 130 objects (of a total exceeding 20,000). Dating from the beginning of the seventeenth century to the 1990s, each object in this volume was chosen for its national significance, artistic merit, and relevance to the Institute's mission: collecting and interpreting the art, history, and culture of New York State's Upper Hudson Valley through four centuries.
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