Saturday, June 30, 2007

4th of July Salute to Florida's Military Heroes Clip Art

. 4th of July Salute to Florida's Military Heroes Clip Art. Public Domain Clip Art Stock Photos and Images.

Guests enjoy the fireworks at the conclusion to Miami's "Salute to Florida's Military Heroes" at Bayfront Park July 10. by Sgt. Lisa Lotter.

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4th of July Salute to Florida's Military Heroes Clip Art

4th of July Salute to Florida's Military Heroes Clip Art

We...solemnly Publish and Declare, that these United Colonies are, and of Right ought to be, Free and Independent States."

-Declaration of Independence

On July 4, 1776, the Second Continental Congress adopted these words, and a new nation was born. This new nation promised to secure the rights of life, liberty, and the pursuit of happiness for each and every one of its citizens. "In order to form a more perfect Union...and secure the blessings of liberty," for itself and its posterity, the United States of America established a government of democracy to fulfill that promise. Today, America continues to uphold its ideals and is a symbol of freedom and democracy for the entire world.

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Friday, June 29, 2007

Frederick Douglass The Meaning of July Fourth for the Negro

Frederick Douglass The Meaning of July Fourth for the Negro. Access Restrictions: Unrestricted, Use Restrictions: Unrestricted"What To The Slave Is The 4th Of July?" FREDERICK DOUGLASS SPEECH, 1852 Independence Day Speech at Rochester, 1852

Fellow Citizens, I am not wanting in respect for the fathers of this republic. The signers of the Declaration of Independence were brave men. They were great men, too Ñ great enough to give frame to a great age. Inage Information
It does not often happen to a nation to raise, at one time, such a number of truly great men. The point from which I am compelled to view them is not, certainly, the most favorable; and yet I cannot contemplate their great deeds with less than admiration. They were statesmen, patriots and heroes, and for the good they did, and the principles they contended for, I will unite with you to honor their memory....

...Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? and am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us?

Would to God, both for your sakes and ours, that an affirmative answer could be truthfully returned to these questions! Then would my task be light, and my burden easy and delightful. For who is there so cold, that a nation's sympathy could not warm him? Who so obdurate and dead to the claims of gratitude, that would not thankfully acknowledge such priceless benefits? Who so stolid and selfish, that would not give his voice to swell the hallelujahs of a nation's jubilee, when the chains of servitude had been torn from his limbs? I am not that man. In a case like that, the dumb might eloquently speak, and the "lame man leap as an hart."

But such is not the state of the case. I say it with a sad sense of the disparity between us. I am not included within the pale of glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you, this day, rejoice, are not enjoyed in common.ÑThe rich inheritance of justice, liberty, prosperity and independence, bequeathed by your fathers, is shared by you, not by me. The sunlight that brought light and healing to you, has brought stripes and death to me. This Fourth July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak to-day? If so, there is a parallel to your conduct. And let me warn you that it is dangerous to copy the example of a nation whose crimes, towering up to heaven, were thrown down by the breath of the Almighty, burying that nation in irrevocable ruin! I can to-day take up the plaintive lament of a peeled and woe-smitten people!

"By the rivers of Babylon, there we sat down. Yea! we wept when we remembered Zion. We hanged our harps upon the willows in the midst thereof. For there, they that carried us away captive, required of us a song; and they who wasted us required of us mirth, saying, Sing us one of the songs of Zion. How can we sing the Lord's song in a strange land? If I forget thee, 0 Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth."

Fellow-citizens, above your national, tumultuous joy, I hear the mournful wail of millions! whose chains, heavy and grievous yesterday, are, to-day, rendered more intolerable by the jubilee shouts that reach them. If I do forget, if I do not faithfully remember those bleeding children of sorrow this day, "may my right hand forget her cunning, and may my tongue cleave to the roof of my mouth!" To forget them, to pass lightly over their wrongs, and to chime in with the popular theme, would be treason most scandalous and shocking, and would make me a reproach before God and the world. My subject, then, fellow-citizens, is American slavery. I shall see this day and its popular characteristics from the slave's point of view. Standing there identified with the American bondman, making his wrongs mine, I do not hesitate to declare, with all my soul, that the character and conduct of this nation never looked blacker to me than on this 4th of July! Whether we turn to the declarations of the past, or to the professions of the present, the conduct of the nation seems equally hideous and revolting. America.is false to the past, false to the present, and solemnly binds herself to be false to the future. Standing with God and the crushed and bleeding slave on this occasion, I will, in the name of humanity which is outraged, in the name of liberty which is fettered, in the name of the constitution and the Bible which are disregarded and trampled upon, dare to call in question and to denounce, with all the emphasis I can command, everything that serves to perpetuate slavery Ñ the great sin and shame of America! "I will not equivocate; I will not excuse"; I will use the severest language I can command; and yet not one word shall escape me that any man, whose judgment is not blinded by prejudice, or who is not at heart a slaveholder, shall not confess to be right and just.

But I fancy I hear some one of my audience say, "It is just in this circumstance that you and your brother abolitionists fail to make a favorable impression on the public mind. Would you argue more, an denounce less; would you persuade more, and rebuke less; your cause would be much more likely to succeed." But, I submit, where all is plain there is nothing to be argued. What point in the anti-slavery creed would you have me argue? On what branch of the subject do the people of this country need light? Must I undertake to prove that the slave is a man? That point is conceded already. Nobody doubts it. The slaveholders themselves acknowledge it in the enactment of laws for their government. They acknowledge it when they punish disobedience on the part of the slave. There are seventy-two crimes in the State of Virginia which, if committed by a black man (no matter how ignorant he be), subject him to the punishment of death; while only two of the same crimes will subject a white man to the like punishment. What is this but the acknowledgment that the slave is a moral, intellectual, and responsible being? The manhood of the slave is conceded. It is admitted in the fact that Southern statute books are covered with enactments forbidding, under severe fines and penalties, the teaching of the slave to read or to write. When you can point to any such laws in reference to the beasts of the field, then I may consent to argue the manhood of the slave. When the dogs in your streets, when the fowls of the air, when the cattle on your hills, when the fish of the sea, and the reptiles that crawl, shall be unable to distinguish the slave from a brute, then will I argue with you that the slave is a man!

For the present, it is enough to affirm the equal manhood of the Negro race. Is it not astonishing that, while we are ploughing, planting, and reaping, using all kinds of mechanical tools, erecting houses, constructing bridges, building ships, working in metals of brass, iron, copper, silver and gold; that, while we are reading, writing and ciphering, acting as clerks, merchants and secretaries, having among us lawyers, doctors, ministers, poets, authors, editors, orators and teachers; that, while we are engaged in all manner of enterprises common to other men, digging gold in California, capturing the whale in the Pacific, feeding sheep and cattle on the hill-side, living, moving, acting, thinking, planning, living in families as husbands, wives and children, and, above all, confessing and worshipping the Christian's God, and looking hopefully for life and immortality beyond the grave, we are called upon to prove that we are men!

Would you have me argue that man is entitled to liberty? that he is the rightful owner of his own body? You have already declared it. Must I argue the wrongfulness of slavery? Is that a question for Republicans? Is it to be settled by the rules of logic and argumentation, as a matter beset with great difficulty, involving a doubtful application of the principle of justice, hard to be understood? How should I look to-day, in the presence of Amercans, dividing, and subdividing a discourse, to show that men have a natural right to freedom? speaking of it relatively and positively, negatively and affirmatively. To do so, would be to make myself ridiculous, and to offer an insult to your understanding. There is not a man beneath the canopy of heaven that does not know that slavery is wrong for him.

What, am I to argue that it is wrong to make men brutes, to rob them of their liberty, to work them without wages, to keep them ignorant of their relations to their fellow men, to beat them with sticks, to flay their flesh with the lash, to load their limbs with irons, to hunt them with dogs, to sell them at auction, to sunder their families, to knock out their teeth, to burn their flesh, to starve them into obedience and submission to their mastcrs? Must I argue that a system thus marked with blood, and stained with pollution, is wrong? No! I will not. I have better employment for my time and strength than such arguments would imply.

What, then, remains to be argued? Is it that slavery is not divine; that God did not establish it; that our doctors of divinity are mistaken? There is blasphemy in the thought. That which is inhuman, cannot be divine! Who can reason on such a proposition? They that can, may; I cannot. The time for such argument is passed.

At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation's ear, I would, to-day, pour out a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, and the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes against God and man must be proclaimed and denounced.

What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy -- a thin veil to cover up crimes which would disgrace a nation of savages.There is not a nation on the earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour.

Go where you may, search where you will, roam through all the monarchies and despotisms of the Old World, travel through South America, search out every abuse, and when you have found the last, lay your facts by the side of the everyday practices of this nation, and you will say with me, that, for revolting barbarity and shameless hypocrisy, America reigns without a rival....

...Allow me to say, in conclusion, notwithstanding the dark picture I have this day presented, of the state of the nation, I do not despair of this country. There are forces in operation which must inevitably work the downfall of slavery. "The arm of the Lord is not shortened," and the doom of slavery is certain. I, therefore, leave off where I began, with hope. While drawing encouragement from "the Declaration of Independence," the great principles it contains, and the genius of American Institutions, my spirit is also cheered by the obvious tendencies of the age. Nations do not now stand in the same relation to each other that they did ages ago. No nation can now shut itself up from the surrounding world and trot round in the same old path of its fathers without interference. The time was when such could be done. Long established customs of hurtful character could formerly fence themselves in, and do their evil work with social impunity. Knowledge was then confined and enjoyed by the privileged few, and the multitude walked on in mental darkness. But a change has now come over the affairs of mankind. Walled cities and empires have become unfashionable. The arm of commerce has borne away the gates of the strong city. Intelligence is penetrating the darkest corners of the globe. It makes its pathway over and under the sea, as well as on the earth. Wind, steam, and lightning are its chartered agents. Oceans no longer divide, but link nations together. From Boston to London is now a holiday excursion. Space is comparatively annihilated. -- Thoughts expressed on one side of the Atlantic are distinctly heard on the other.

The far off and almost fabulous Pacific rolls in grandeur at our feet. The Celestial Empire, the mystery of ages, is being solved. The fiat of the Almighty, "Let there be Light," has not yet spent its force. No abuse, no outrage whether in taste, sport or avarice, can now hide itself from the all-pervading light. The iron shoe, and crippled foot of China must be seen in contrast with nature. Africa must rise and put on her yet unwoven garment. 'Ethiopia, shall, stretch. out her hand unto Ood." In the fervent aspirations of William Lloyd Garrison, I say, and let every heart join in saying it:

God speed the year of jubilee
The wide world o'er!
When from their galling chains set free,
Th' oppress'd shall vilely bend the knee,
And wear the yoke of tyranny
Like brutes no more.
That year will come, and freedom's reign,
To man his plundered rights again
Restore.

God speed the day when human blood
Shall cease to flow!
In every clime be understood,
The claims of human brotherhood,
And each return for evil, good,
Not blow for blow;
That day will come all feuds to end,
And change into a faithful friend
Each foe.

God speed the hour, the glorious hour,
When none on earth
Shall exercise a lordly power,
Nor in a tyrant's presence cower;
But to all manhood's stature tower,
By equal birth!
That hour will come, to each, to all,
And from his Prison-house, to thrall
Go forth.

Until that year, day, hour, arrive,
With head, and heart, and hand I'll strive,
To break the rod, and rend the gyve,
The spoiler of his prey deprive --
So witness Heaven!
And never from my chosen post,
Whate'er the peril or the cost,
Be driven.
ARC Identifier: 558770 Local Identifier: FL-FL-22 Title: Frederick Douglass, ca. 1879 Creator: Legg, Frank W. ( Most Recent)

Type of Archival Materials: Photographs and other Graphic Materials Level of Description: Item from Collection FL: FRANK W. LEGG PHOTOGRAPHIC COLLECTION OF PORTRAITS OF NINETEENTH-CENTURY NOTABLES, 1862 - 1884

Location: Still Picture Records LICON, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD 20740-6001 PHONE: 301-837-3530, FAX: 301-837-3621, EMAIL: stillpix@nara.gov Production Date: ca. 1879

Part of: Series: Portraits, 1862 - 1884 Access Restrictions: Unrestricted, Use Restrictions: Unrestricted. General Note: Use War and Conflict Number 113 when ordering a reproduction or requesting information about this image. Variant Control Number(s): NAIL Control Number: NWDNS-200-FL-22NAIL Control Number: NWDNS-FL-FL-22

Copies, Copy 1 Copy Status: Preservation-Reproduction Storage Facility: National Archives at College Park - Archives II (College Park, MD) Media
Media Type: Negative

Index Terms Contributors to Authorship and/or Production of the Archival Materials Warren, George K., Photographer

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Thursday, June 28, 2007

This Day in History Archduke Franz Ferdinand

Creator, Artist Name Carl Pietzner, Date of birth, death 1853 1927, Work location Austria.

This image is in the public domain because its copyright has expired.

This applies to the United States, Canada, the European Union and those countries with a copyright term of life of the author plus 70 years.
Image from, In the World War, by Count Ottokar Czernin, Plate II

Assassination of Archduke Franz Ferdinand, From Wikipedia, the free encyclopedia

On June 28, 1914, Archduke Franz Ferdinand of Austria, heir to the Austro-Hungarian throne, and his wife, Sophie, Duchess of Hohenberg, were shot to death in Sarajevo, capital of Bosnia and Herzegovina, by Gavrilo Princip, one of a group of six assassins coordinated by Danilo Ilić. The political objective of the assassination was to break off from Austria-Hungary her south-slav provinces so they could be combined into a Greater Serbia or a Yugoslavia. The assassins' motives are consistent with the movement that later became known as Young Bosnia. "The Outrage", as the assassination came to be called, sparked the outbreak of World War I.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Assassination of Archduke Franz Ferdinand

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Wednesday, June 27, 2007

The Beatles

The Beatles. Public Domain ClipArt Stock Photos and Images. BEATLES. Photograph, United Press International. [1964.]. Location: NYWTS - BIOG--Beatles--Singers, Reproduction Number: LC-USZ62-111094, Note: No copyright found; checked by staff December 2000. Original Unedited Image

Rights and Restrictions: The images are presented for educational and research purposes. Except where otherwise noted, the Library of Congress is unaware of any copyright or donor restrictions on the use of the images (in cases where permission from a rights holder is clearly required, links to jpeg and tiff files are not provided and only a small reference image appears).

However, patrons who plan to publish or otherwise distribute any of the images should be aware that determination regarding the appropriate use of an image ultimately rests with the patron. The Library generally does not own rights to material in its collections. Therefore, it does not charge permission fees for use of such material and cannot give or deny permission for use of the images.

The BEATLES. 1964These images were selected to meet requests regularly received by the Library of Congress Prints and Photographs Division. They include portraits of men and women of all nationalities and from all time periods (fictional and legendary characters are not included). Because the strength of the Prints and Photographs Division lies in historical images, few images dating later than the 1970s are included.

In some cases, the images come from illustrations in books held by other units of the Library of Congress. Individuals are added to the list as demand for their images rises and suitable images are found in the collections. Also included in the list, in a few cases, are the names of individuals whose portraits have been frequently requested but for whom no suitable images have been found in the Division's holdings.

The Beatles

editors note: while no copyright is associated with this image these two points are relevant:
  • Privacy rights protect living people from unauthorized use of their image that is intrusive or embarrassing. As John and Barbara Schultz point out that: “Photographs of private persons, who are not celebrities or public figures, can be published without their consent only in an editorial context. Even editorial use is perilous, however, if any individual who is depicted is held libeled, held up to ridicule, or misrepresented." Picture Research: A Practical Guide, by John Schultz and Barbara Schultz (N.Y.: Van Nostrand, 1991), p. 226. [call number: TR147.S38 1991 P&P]
  • Publicity rights protects a person’s right to benefit from the commercial value connected with an individual’s name, image, or voice. John and Barbara Schultz point out that: " Not all well-known people have a right of publicity, since not all of them profit from the commercialization of their celebrity. Politicians, for instance, do not ordinarily require payment for the use of their images, although they are public figures ... As a rule, the right to publicity is enforced for commercial reproduction of the name or likeness of a celebrity, under the conditions outlined. The editorial use of a photograph of a celebrity, so long as it does not violate other laws concerning libel or slander, requires only the release of the holder of the copyright in the photograph." Picture Research: A Practical Guide, by John Schultz and Barbara Schultz (N.Y.: Van Nostrand, 1991), p. 225-6. [call number: TR147.S38 1991 P&P]
The Beatles From Wikipedia, the free encyclopedia

The Beatles were an English rock band from Liverpool whose members were John Lennon, Paul McCartney, George Harrison, and Ringo Starr. They are the most commercially successful and critically acclaimed band in the history of popular music.

The Beatles are the best-selling musical act of all time in the United States of America, according to the Recording Industry Association of America, which certified them as the highest selling band of all time based on American sales of singles and albums. In the United Kingdom, The Beatles released more than 40 different singles, albums, and EPs that reached number one. This commercial success was repeated in many other countries: their record company, EMI, estimated that by 1985 they had sold over one billion discs and tapes worldwide. In 2004, Rolling Stone Magazine ranked The Beatles #1 on their list of 100 Greatest Artists of All Time. According to that same magazine, their innovative music and cultural impact helped define the 1960s, and their influence on pop culture can still be felt today.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, The Beatles

Public Domain Clip Art and clip art or public domain and Currier & Ives or Hiawatha and Library of Congress Prints and Photographs Division or The smallest piece of ice reveals its true nature or Currier & Ives Tempting fruit and President Welcomes President Ilves of Estonia VIDEO

Tuesday, June 26, 2007

Currier & Ives Tempting fruit

Currier & Ives Tempting fruit, Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-10388]TITLE: Tempting fruit CALL NUMBER: PGA - Currier & Ives--Tempting fruit (A size) [P&P] REPRODUCTION NUMBER: LC-USZ62-10388 (b&w film copy neg.) No known restrictions on publication.
Digital ID: cph 3a12810 Source: b&w film copy neg. Reproduction Number: LC-USZ62-10388 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Retrieve uncompressed archival TIFF version (1,550 kilobytes)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1875. CREATOR: Currier & Ives. NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 6450

FORMAT: Lithographs 1870-1880. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA DIGITAL ID: (b&w film copy neg.) cph 3a12810 hdl.loc.gov/cph.3a12810, CARD #: 2002695797

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-10388]

MARC Record Line 540 - No known restrictions on publication.

The depiction of inanimate objects is called "still life." Common subjects include flowers and fruit, tableware, books and newspapers, and musical instruments. The function of a still life may be straightforward representation, or the artist may intend to convey a more subtle, moral message.

Traditionally, still lifes and still-life elements of larger compositions have complex iconographical significance. For example, the presence of books, maps, or writing materials in portraiture refers to the sitter's knowledge and education. Cut flowers, a snuffed-out candle, or signs of decay in fruit and other food represent the transience of life and are meant to remind viewers of their own mortality. National Gallery of Art, Themes in American Art: Still Life

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Monday, June 25, 2007

Currier & Ives the Great West

Currier & Ives the Great West, Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2538]TITLE: The great west. CALL NUMBER: PGA - Currier & Ives--Great west (A size) [P&P] REPRODUCTION NUMBER: LC-USZC2-2538 (color film copy slide) No known restrictions on publication.
Digital ID: cph 3b50412 Source: color film copy slide Reproduction Number: LC-USZC2-2538 (color film copy slide) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve High Resolution Image (50K)

MEDIUM: 1 print : lithograph. CREATED/PUBLISHED: New York : Published by Currier & Ives, c1870. CREATOR: Currier & Ives. NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 2879

FORMAT: Lithographs 1870. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (color film copy slide) cph 3b50412 hdl.loc.gov/cph.3b50412 , CARD #: 2002695812

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2538]

MARC Record Line 540 - No known restrictions on publication.

American Old West From Wikipedia, the free encyclopedia

The American Old West is comprised of the myths, legends, stories, and beliefs that collected around the Western United States from 1865 to 1890. Most often the term refers to the late 19th century, between the American Civil War and the 1890 closing of the frontier. Terms Old West and Wild West refer to life beyond the settled frontier.

While this terminology could logically place the setting as far back as the American colonial period, it is usually meant to signify the area from the "Frontier Strip" (i.e., the six U.S. states from North Dakota south to Texas) west to the Pacific Ocean. Sometimes the tier of states just east of the Frontier strip (Minnesota to Louisiana) are also seen as the "Wild West" because of their stance as gateways.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, American Old West

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Sunday, June 24, 2007

Currier & Ives Native American Hiawatha's departure

Currier & Ives--Hiawatha's departure Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-5300]TITLE: Hiawatha's departure, CALL NUMBER: PGA - Currier & Ives--Hiawatha's departure (B size) [P&P] REPRODUCTION NUMBER: LC-USZ62-5300 (b&w film copy neg.) No known restrictions on publication.
Digital ID: cph 3a08611 Source: b&w film copy neg. Reproduction Number: LC-USZ62-5300 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve High Resolution Image (77K)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1868. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 3034

FORMAT: Lithographs 1860-1870. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (b&w film copy neg.) cph 3a08611 hdl.loc.gov/cph.3a08611 , CARD #: 2002695863

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-5300]

MARC Record Line 540 - No known restrictions on publication.

Hiawatha From Wikipedia, the free encyclopedia

Hiawatha (also known as Ayenwatha or Ha-yo-went'-ha; Onondaga Hayę́hwàtha)[1] who lived (depending on the version of the story) in the 1100s, 1400s, or 1500s, was variously a leader of the Onondaga and Mohawk nations of Native Americans. Hiawatha was a follower of The Great Peacemaker, a prophet and spirtual leader who was credited as the founder of the Iroquois confederacy, (referred to as Haudenosaunee by the people).

If The Great Peacemaker was the man of ideas, Hiawatha was the politician who actually put the plan into practice. Hiawatha was a skilled and charismatic orator, and was instrumental in persuading the Iroquois peoples, the Senecas, Onondagas, Oneidas, Cayugas, and Mohawks, a group of Native North Americans who shared similar languages, to accept The Great Peacemaker's vision and band together to become the Five Nations of the Iroquois confederacy. (Later, in 1721, the Tuscarora nation joined the Iroquois confederacy, and they became the Six Nations).

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Hiawatha

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Saturday, June 23, 2007

Currier & Ives Fruit Bowl Still Life

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2665], Currier & Ives Fruit Bowl Still LifeTITLE: An inviting dish CALL NUMBER: PGA - Currier & Ives--Inviting dish (A size) [P&P] REPRODUCTION NUMBER: LC-USZC2-2665 (color film copy slide), No known restrictions on publication.
Digital ID: cph 3b50539 Source: color film copy slide Reproduction Number: LC-USZC2-2665 (color film copy slide) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve High Resolution Image (52k)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1870. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 3365, FORMAT: Lithographs 1870.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (color film copy slide) cph 3b50539, hdl.loc.gov/cph.3b50539, CARD #: 2002699727

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2665]

MARC Record Line 540 - No known restrictions on publication.

Still life From Wikipedia, the free encyclopedia

A still life is a work of art depicting inanimate subject matter, typically commonplace objects which may be either natural (food, plants and natural substances like rocks) or man-made (drinking glasses, cigarettes, pipes, hotdogs and so on). Popular in Western art since the 17th century, still life paintings give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture.

Still life paintings often adorn the walls of ancient Egyptian tombs. It was believed that the foodstuffs and other items depicted there would, in the afterlife, become real and available for use by the deceased. Similar paintings, more simply decorative in intent, have also been found in the Roman frescoes unearthed at Pompeii and Herculaneum. The popular appreciation of still life painting as a demonstration of the artist's skill is related in the ancient Greek legend of Zeuxis and Parrhasius.

Through the Middle Ages and the Renaissance, still life in Western art was mainly used as an adjunct to Christian religious subjects. This was particularly true in the work of Northern European artists, whose fascination with highly detailed optical realism and disguised symbolism led them to lavish great attention on the meanings of various props and settings within their paintings' overall message. Painters such as Jan van Eyck often used still life elements as part of an iconographic program.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Still life

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Friday, June 22, 2007

Currier & Ives Woodcock

Currier & Ives Woodcock, Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-33175]TITLE: Woodcock. CALL NUMBER: PGA - Currier & Ives--Woodcock (A size) [P&P] REPRODUCTION NUMBER: LC-USZ62-33175 (b&w film copy neg.) No known restrictions on publication.
Digital ID: cph 3a33687 Source: b&w film copy neg. Reproduction Number: LC-USZ62-33175 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve uncompressed archival TIFF version (1,692 kilobytes)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1871. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 7318. FORMAT: Lithographs 1870-1880.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

DIGITAL ID: (b&w film copy neg.) cph 3a33687 hdl.loc.gov/cph.3a33687 CARD #: 2002698857

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-33175]

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Woodcock From Wikipedia, the free encyclopedia

The woodcocks are a group of seven extant very similar wading bird species in the genus Scolopax, characterised by a long slender bill and cryptic brown and blackish plumage. Only two woodcocks are widespread, the others being localised island species. Their closest relatives are the typical snipes of the genus Gallinago (Thomas et al., 2004).

These are woodland birds which feed at night or in the evenings, searching for invertebrates in soft ground with their long bills. Unlike in most birds the tip of the upper mandible is flexible.[1] This habit and their unobtrusive plumage makes it difficult to see them when they are resting in the day. Woodcocks are seen as a very timid and frail species because they rarely ever make any appearances and they can be frightened easily.

Most have distinctive displays, usually given at dawn or dusk. These are birds with stocky bodies and long bills. They have eyes set on the sides of their heads, which gives them almost 360° vision.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Woodcock

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Thursday, June 21, 2007

Currier & Ives Horses The Leaders

Currier & Ives--Leaders, Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-DIG-pga-00808]TITLE: The leaders, CALL NUMBER: PGA - Currier & Ives--Leaders (D size) [P&P] REPRODUCTION NUMBER: LC-DIG-pga-00808 (digital file from original print) No known restrictions on publication.
Digital ID: pga 00808 Source: digital file from original print Reproduction Number: LC-DIG-pga-00808 (digital file from original print) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve higher resolution JPEG version (102 kilobytes)

MEDIUM: 1 print : chromolithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1888. CREATOR: Currier & Ives. NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 3742

FORMAT: Chromolithographs Color 1880-1890. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA DIGITAL ID: (digital file from original print) pga 00808 http://hdl.loc.gov/loc.pnp/pga.00808 CARD #: 2002708514

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-DIG-pga-00808]

MARC Record Line 540 - No known restrictions on publication.

Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" from the U.S. Copyright Office. Works published before 1923 (THIS IMAGE) are now in the public domain.

Currier and Ives From Wikipedia, the free encyclopedia

Currier first worked as a printmaker in the firm of Stodart & Currier, and then later as N. Currier (1835-1856). Newspapers did not have pictures. Therefore, the public was interested in some source for pictures of recent newsworthy events. In 1835, Currier produced the print, "Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives." The print was moderately successful.

In 1840, he produced "Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished". The print was very successful, and Currier soon had a weekly insert in the New York Sun.

In 1852, Ives started working as the accountant for the firm. Ives improved the bookkeeping for the firm and also streamlined the print production process. In 1857, Ives became a partner in the firm. The two became close friends.

Currier and Ives described itself as "Publishers of Cheap and Popular Pictures". Their pictures were indeed hugely popular; from 1835 to 1907 they produced over a million prints by a process of hand-colored lithography. A staff of artists produced the lithographs. The colors were applied in an assembly-line style of operation, typically by German immigrant girls, each of whom added a single color to the print.

The prints depicted a variety of scenes in American life, including winter scenes, horse racing images, portraits of people, pictures of ships, pictures of sporting events, and ferocious battle scenes from the American Civil War.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Currier and Ives

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Wednesday, June 20, 2007

Currier & Ives Angels and Tree of Life

Currier & Ives--Tree of life, Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-3456]TITLE: The tree of life: on either side of the river was there the tree of life which bare twelve manner of fruits.--Rev. ch. XXII, 2. CALL NUMBER: PGA - Currier & Ives--Tree of life: on either... (C size) [P&P], REPRODUCTION NUMBER: LC-USZC2-3456 (color film copy slide), LC-USZC4-1494 (color film copy transparency).

No known restrictions on publication.
Digital ID: cph 3b51330 Source: color film copy slide Reproduction Number: LC-USZC2-3456 (color film copy slide) , LC-USZC4-1494 (color film copy transparency) , LC-USZ62-25569 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve uncompressed archival TIFF version (4 megabytes)

MEDIUM: 1 print : chromolithograph. CREATED/PUBLISHED: New York : Published by Currier & Ives, c1892. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 6618, FORMAT: Chromolithographs Color 1890-1900.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

DIGITAL ID: (color film copy slide) cph 3b51330, hdl.loc.gov/cph.3b51330, (color film copy transparency) cph 3b52998 hdl.loc.gov/cph.3b52998, (b&w film copy neg.) cph 3a26490 hdl.loc.gov/cph.3a26490, CARD #: 2002697361

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-3456]

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Revelation 22:2 - In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.


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Tuesday, June 19, 2007

Currier & Ives Great horses in a great race

Currier & Ives--Great horses in a great race, Library of Congress, Prints & Photographs Division, [reproduction number, LC-DIG-pga-03207]TITLE: Great horses in a great race / J. Cameron. CALL NUMBER: PGA - Currier & Ives--Great horses in a great race (D size) [P&P], REPRODUCTION NUMBER: LC-DIG-pga-03207 (digital file from original print), LC-USZC2-3414 (color film copy slide),
No known restrictions on publication.

Digital ID: pga 03207 Source: digital file from original print Reproduction Number: LC-DIG-pga-03207 (digital file from original print) , LC-USZC2-3414 (color film copy slide) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve higher resolution JPEG version (91 kilobytes)

SUMMARY: Print showing race between Salvator and Tenny at Sheepshead Bay, New York, June 25th 1890. MEDIUM: 1 print : chromolithograph. CREATED/PUBLISHED: N.Y. : Published by Currier & Ives, c1891. CREATOR: Currier & Ives. NOTES: 34927 U.S. Copyright Office.

Title from item. Caption continues: The finish in the great match race for $5,000 a side and $5,000 added money, one mile and a quarter, at Sheepshead Bay, N.Y. June 25th 1890, between Salvator and Tenny. J.B. Haggin's Ch. c. Salvator by Prince Charlie Murphy 1. D.T. Pulsifer's B. c. Tenny by Rayon d'Or Garrison 2. Won by a neck only -- time 2:05.

Copyright 1891 by Currier & Ives, N.Y. (EXPIRED), Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 2841

SUBJECTS: Horse racing--1890. FORMAT: Chromolithographs Color 1890-1900. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

DIGITAL ID: (digital file from original print) pga 03207, hdl.loc.gov/pga.03207 (digital file from color film copy slide) cph 3b51288 hdl.loc.gov/cph.3b51288 CARD #: 2006676683

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-DIG-pga-03207]

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Sheepshead Bay Race Track From Wikipedia, the free encyclopedia

Sheepshead Bay Race Track was an American Thoroughbred horse racing facility at Coney Island, New York. It was built by a group of prominent businessmen from the New York City area who formed the Coney Island Jockey Club in 1880. Led by Leonard Jerome and the track's President, William Kissam Vanderbilt, the Club held seasonal race cards at nearby Prospect Park fairgrounds until construction of the new race course was completed in 1884.

The new Sheepshead Bay Race Track's premier event was the Suburban Handicap and four years later in 1888 the first running of the Futurity Stakes took place on Labor Day. At the time, the Futurity was the richest race ever run in the United States. Today, both the Suburban and the Futurity are ongoing Graded stakes races held at the Belmont Park racetrack in Elmont on Long Island.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Sheepshead Bay Race Track

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Monday, June 18, 2007

This Day in History Napoleon Waterloo

Napoleon, Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-DIG-pga-01992]TITLE: Napoleon, CALL NUMBER: PGA - Laugier, Jean Nicholas--Napoleon (D size) [P&P], REPRODUCTION NUMBER: LC-DIG-pga-01992 (digital file from original print), LC-USZ62-17088 (b&w film copy neg.), No known restrictions on publication.

MEDIUM: 1 print. CREATED, PUBLISHED: [no date recorded on shelflist card], NOTES: This record contains unverified data from PGA shelflist card.
Associated name on shelflist card: Laugier, Jean Nicholas.

Digital ID: cph 3a19287 Source: b&w film copy neg. Reproduction Number: LC-DIG-pga-01992 (digital file from original print) , LC-USZ62-17088 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve uncompressed archival TIFF version (1,492 kilobytes)

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (digital file from original print) pga 01992 http://hdl.loc.gov/loc.pnp/pga.01992 (b&w film copy neg.) cph 3a19287 hdl.loc.gov/cph.3a19287 , CARD #: 2003670251

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-DIG-pga-01992]

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Battle of Waterloo painted by William Sadler

Battle of Waterloo painted by William Sadler (1782-1839). This image is in the public domain because its copyright has expired.

This applies to the United States, Canada, the European Union and those countries with a copyright term of life of the author plus 70 years.

Battle of Waterloo From Wikipedia, the free encyclopedia

The Battle of Waterloo, fought on 18 June 1815, was Napoleon Bonaparte's last battle. His defeat put a final end to his rule as Emperor of France. The Battle of Waterloo also marked the end of the period known as the Hundred Days, which began in March 1815 after Napoleon's return from Elba, where he had been exiled after his defeats at the battle of Leipzig in 1813 and the campaigns of 1814 in France.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Battle of Waterloo

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Sunday, June 17, 2007

Democratic Donkey, Republican Elephant, They're Off Again!,

Democratic Donkey, Republican Elephant, They're Off Again!ARC Identifier: 306156, Title: They're Off Again!, 09/08/1949. Creator: U.S. Senate. Office of Senate Curator. (? - ) ( Most Recent) Type of Archival Materials: Photographs and other Graphic Materials. Level of Description: Item from Record Group 46: Records of the U.S. Senate, 1789 - 2006
Location: Center for Legislative Archives (NWL), National Archives Building, Room 8E, 7th and Pennsylvania Avenue NW, Washington, DC 20408 PHONE: 202-501-5350, FAX: 202-219-2176, EMAIL: inquire@nara.gov

Production Date: 09/08/1949, Part of: Series: Berryman Political Cartoon Collection, 1896 - 1949, Scope & Content Note: This cartoon features Senator Robert A. Taft and President Harry S. Truman with the Repbulican elephant and the Democratic donkey. Both are candidates for president.

Access Restrictions: Unrestricted, Use Restrictions: Unrestricted

Specific Records Type: cartoons (humorous images) Variant Control Number(s): NAIL Control Number: NWL-46-BERRYMAN-A078, Copy 1 Copy Status: Preservation-Reproduction-Reference Storage Facility: National Archives Building - Archives I (Washington, DC) Media Media Type: Paper

Index Terms Contributors to Authorship and/or Production of the Archival Materials Berryman, Clifford K., Artist

This symbol of the party was born in the imagination of cartoonist Thomas Nast and first appeared in Harper's Weekly on November 7, 1874.

An 1860 issue of Railsplitter and an 1872 cartoon in Harper's Weekly connected elephants with Republicans, but it was Nast who provided the party with its symbol.

Oddly, two unconnected events led to the birth of the Republican Elephant. James Gordon Bennett's New York Herald raised the cry of "Caesarism" in connection with the possibility of a thirdterm try for President Ulysses S. Grant. The issue was taken up by the Democratic politicians in 1874, halfway through Grant's second term and just before the midterm elections, and helped disaffect Republican voters. Origin of the Elephant

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Saturday, June 16, 2007

4th of July Celebrate Clip Art

. 4th of July Celebrate Clip Art. Public Domain Clip Art Stock Photos and Images.

Privacy and Security Notice The DoD Imagery Server is provided as a public service by the American Forces Information Service.

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About Images on DefenseLINK, All of these files are in the public domain unless otherwise indicated.However, we request you credit the photographer, videographer as indicated or simply "Department of Defense."

4th of July Celebrate Clip Art

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

How the Fourth of July was Designated as an "Official" Holiday

The United States observes no national holidays, that is, holidays mandated across all 50 states by the Federal government. The United States Congress and/or President can only legally establish an "official" holiday for its "federal" employees and the District of Columbia. States and municipalities are free to adopt holidays enjoyed by the federal government or to create their own.

This can be accomplished in several ways, either through enactment of a law issued by a state legislature or by an executive proclamation, that is, by order from a state governor. As an act of confirmation, it is possible as well that a city may enact an ordinance regarding the celebration of the Fourth of July or any other holiday. As stated in theWorld Almanac (1998, p. 315), however, "in practice, most states observe the federal legal public holiday."

The first "official" state celebration of the Fourth as recognized under resolve of a legislature occurred in Massachusetts in 1781. Boston was the first municipality (city/town) to officially designate July Fourth as a holiday, in 1783. Alexander Martin of North Carolina was the first governor to issue a state order (in 1783) for celebrating the independence of the country on the Fourth of July. In 1870 the first federal legislation was passed giving federal employees a "day off" from work, but without pay. Fourth of July Celebrations Database

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Friday, June 15, 2007

Republican Elephant, Democratic Donkey

His Master's Voice, 03/15/1908, National Archives and Records AdministrationTitle: His Master's Voice, 03/15/1908 ARC Identifier: 306144, Creator: U.S. Senate. Office of Senate Curator. (? - ) ( Most Recent) Type of Archival Materials: Photographs and other Graphic Materials.

Level of Description: Item from Record Group 46: Records of the U.S. Senate, 1789 - 2006. Location: Center for Legislative Archives (NWL), National Archives Building,
Room 8E, 7th and Pennsylvania Avenue NW, Washington, DC 20408, PHONE: 202-501-5350, FAX: 202-219-2176, EMAIL: inquire@nara.gov

Production Date: 03/15/1908. Part of: Series: Berryman Political Cartoon, Collection, 1896 - 1949. Scope & Content Note: This cartoon includes William Jennings Bryan and the democratic donkey, Gray, Johnson, Folk, and Harmon.

Access Restrictions: Unrestricted. Use Restrictions: Unrestricted

Specific Records Type: cartoons (humorous images), Variant Control Number(s): NAIL Control Number: NWL-46-BERRYMAN-A066.

Copy 1 Copy Status: Preservation-Reproduction-Reference. Storage Facility: National Archives Building - Archives I (Washington, DC) Media. Media Type: Paper. Index Terms Contributors to Authorship and/or Production of the Archival Materials Berryman, Clifford K., Artist

Uncle Sam warning elephant, Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-57787]TITLE: [Cartoon relating to Republican defeat of Tammany Hall candidates in 1875 elections: "Out of one into another" - Uncle Sam warning elephant ("Republican vote") to avoid entering "Reformed Tammany Hall", having just emerged, sweating, from "Third Term Trap, 1875"]
Digital ID: cph 3b05605 Source: digital file from b&w film copy neg. Reproduction Number: LC-USZ62-57787 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve uncompressed archival TIFF version (1,629 kilobytes)

CALL NUMBER: Illus. in AP2.H32 1875 (Case Y) [P&P] REPRODUCTION NUMBER: LC-USZ62-57787 (b&w film copy neg.) No known restrictions on publication.

MEDIUM: 1 print : wood engraving. CREATED/PUBLISHED: 1875.

NOTES: Wood engraving from drawing by Thomas Nast. Illus. in: Harper's Weekly, 1875 Nov. 6. Reference copy may be in LOT 4405. This record contains unverified, old data from caption card. Caption card tracings: Tammany Hall; Pol. elections...; Cartoons, US--Nov. 1875; "Uncle Sam"; Artists, Pub. I.; Pol. parties; Shelf.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (digital file from b&w film copy neg.) cph 3b05605 hdl.loc.gov/cph.3b05605 CARD #: 2005678043

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-57787]

MARC Record Line 540 - No known restrictions on publication.

The elephant represents the Republican Party, and the donkey represents the Democratic Party. Political cartoonist Thomas Nast created both images for the publication Harper's Weekly in 1874. Nast created a marauding elephant to represent the "Republican vote." Republicans quickly embraced the symbol as their party's own.

In a separate cartoon, Nast criticized the Democrats for posthumously maligning a Republican by picturing the Democratic Party as a donkey or mule (animals considered stubborn and stupid) kicking a lion (the dead Republican). The Democratic Party, demonstrating a sense of humor, accepted the animal as its symbol, observing that it has many fine qualities, such as not giving up easily. Frequently Asked Questions


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Thursday, June 14, 2007

Flag Day Star Spangled Banner PODCAST Clip Art

. Flag Day Star Spangled Banner PODCAST Clip Art. Public Domain Clip Art Stock Photos and Images.

TITLE: High above, over a true "home of the brave," the floating folds of the Star Spangled Banner symbolize the American way of life to soldiers in training for the battles that will bring freedom to an unhappy, wartorn world, Fort Knox, Ky. "The Star Spangled Banner" (MP3 - 908 KB)

CALL NUMBER: LC-USW36-4 [P and P], REPRODUCTION NUMBER: LC-DIG-fsac-1a35188 (digital file from original transparency), LC-USW361-4 (color film copy slide) No known restrictions on publication.

SUMMARY: General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/pp.fsac , MEDIUM: 1 transparency : color. CREATED, PUBLISHED: 1942 June.

Flag Day Star Spangled Banner PODCAST Clip Art

CREATOR: Palmer, Alfred T., photographer. NOTES: B&w photograph in Lot 12002-34. Transfer; FSA-OWI; 1944.

PART OF: Farm Security Administration - Office of War Information Collection, REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/pp.print . DIGITAL ID: (digital file from original transparency) fsac 1a35188 hdl.loc.gov/fsac.1a35188, CARD #: fsa1992001065/PP

Digital ID: fsac 1a35188 Source: digital file from original transparency Reproduction Number: LC-DIG-fsac-1a35188 (digital file from original transparency) , LC-USW361-4 (color film copy slide) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print Retrieve higher resolution JPEG version (102 kilobytes)

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-DIG-fsac-1a35188]

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History: In 1814, about a week after the city of Washington had been badly burned, British troops moved up to the primary port at Baltimore Harbor in Maryland. Frances Scott Key visited the British fleet in the Harbor on September 13th to secure the release of Dr. William Beanes who had been captured during the Washington raid. The two were detained on the ship so as not to warn the Americans while the Royal Navy attempted to bombard Fort McHenry.

At dawn on the 14th, Key noted that the huge American flag, which now hangs in the Smithsonian's American History Museum, was still waving and had not been removed in defeat. The sight inspired him to write a poem entitled Defense of Fort McHenry; later the poem was set to music that had been previously composed for another song by a Mr. Smith.

The end result was the inspiring song now considered the national anthem of the United States of America. It was accepted as such by public demand for the next century or so, but became even more accepted as the national anthem during the World Series of Baseball in 1917 when it was sung in honor of the brave armed forces fighting in the Great War.

The World Series performance moved everyone in attendance, and after that it was repeated for every game. Finally, on March 3, 1931, the American Congress proclaimed it as the national anthem, 116 years after it was first written.

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Wednesday, June 13, 2007

4th of July 1776 Washington

4th of July 1776  Washington, American Forces Information ServicePrivacy & Security Notice The DoD Imagery Server is provided as a public service by the American Forces Information Service.

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About Images on DefenseLINK, All of these files are in the public domain unless otherwise indicated.However, we request you credit the photographer, videographer as indicated or simply "Department of Defense."

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Head Quarters, New York, July 9, 1776.

Parole Manchester. Countersign Norfolk.

John Evans of Capt. Ledyards Company Col McDougall's Regiment--Hopkins Rice of Capt. Pierce's99 Company Col Ritzema's Regiment having been tried by a General Court Martial whereof Col. Read was President and found guilty of "Desertion," were sentenced to receive each Thirty-nine Lashes. The General approves the Sentences and orders them to be executed at the usual time and place.

[Note 99: Capt. Jonathan Pearsee(?). There was a Capt. William Perce of the Dutchess County, N. Y, Minutemen and a Captain Pierce (first name not given) in the Seventh Regiment of Dutchess County Militia.]

Passes to go from the City are hereafter to be granted by John Berrien, Henry Wilmot and John Ray Junr. a Committee of the City appointed for that purpose--Officers of the Guards at the Ferries and Wharves, to be careful in making this regulation known to the Sentries, who are to see that the passes are signed by one of the above persons, and to be careful no Soldier goes over the Ferry without a pass from a General officer.

The North River Guard to be removed to the Market House near the Ferry-Stairs, as soon as it is fitted up.

The Hon. Continental Congress having been pleased to allow a Chaplain to each Regiment, with the pay of Thirty-three Dollars and one third pr month--The Colonels or commanding officers of each regiment are directed to procure Chaplains accordingly; persons of good Characters and exemplary lives--To see that all inferior officers and soldiers pay them a suitable respect and attend carefully upon religious exercises. The blessing and protection of Heaven are at all times necessary but especially so in times of public distress and danger--The General hopes and trusts, that every officer and man, will endeavour so to live, and act, as becomes a Christian Soldier defending the dearest Rights and Liberties of his country.

The Hon. The Continental Congress, impelled by the dictates of duty, policy and necessity, having been pleased to dissolve the Connection which subsisted between this Country, and Great Britain, and to declare the United Colonies of North America, free and independent States: The several brigades are to be drawn up this evening on their respective Parades, at Six OClock, when the declaration of Congress, shewing the grounds and reasons of this measure, is to be read with an audible voice.

The General hopes this important Event will serve as a fresh incentive to every officer, and soldier, to act with Fidelity and Courage, as knowing that now the peace and safety of his Country depends (under God) solely on the success of our arms: And that he is now in the service of a State, possessed of sufficient power to reward his merit, and advance him to the highest Honors of a free Country.

The Brigade Majors are to receive, at the Adjutant Generals Office, several of the Declarations to be delivered to the Brigadiers General, and the Colonels of Regiments.

The Brigade Majors are to be excused from farther attendance at Head Quarters, except to receive the Orders of the day, that their time and attention may be withdrawn as little as possible, from the duties of their respective brigades.

George Washington, July 9, 1776, General Orders

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