IMMIGRANTS' FIRST VIEW OF AMERICA

IMMIGRANTS' FIRST VIEW OF AMERICA From the painting by C. W. Jefferys. A CHRONICLE OF AMERICANS IN THE MAKING, BY SAMUEL P. ORTH The Chronicles of America Series By Allen Johnson Edition: abridged Published by , 1920. The original two-dimensional work shown in this image is free content because: This image (or other media file) is in the public domain because its copyright has expired.

This applies to the United States, where 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 are now in the public domain.

This inage may however not be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case C.W. (Charles William) Jefferys 1869-1951) and that most commonly runs for a period of 50 to 70 years from December 31 of the year of death. If your use will be outside the United States please check your local law.

OUR FOREIGNERS CHAPTER I OPENING THE DOUR

Long before men awoke to the vision of America, the Old World was the scene of many stupendous migrations. One after another, the Goths, the Huns, the Saracens, the Turks, and the Tatars, by the sheer tidal force of their numbers threatened to engulf the ancient and medieval civilization of Europe. But neither in the motives prompting them nor in the effect they produced, nor yet in the magnitude of their numbers, will such migrations bear comparison with the great exodus of European peoples which in the course of three centuries has made the United States of America.

That movement of races — first across the sea and then across the land to yet another sea, which set in with the English occupation of Virginia in 1607 and which has continued from that day to this an almost ceaseless stream of millions of human beings seeking in the New World what was denied them in the Old — has no parallel in history.

Minerva and the Bell Ringers Herald Square

Minerva and the Bell Ringers Herald Square, Inscription: A MEMORIAL TO JAMES GORDON BENNETT (1795-1872) FOUNDER OF THE NEW YORK HERALD IN 1835 AND TO HIS SON JAMES GORDON BENNETT (1841-1918) THRUGH WHOSE VISION AND ENTERPRISE THE NEW YORK HERALD BECAME ONE OF THE WORLD'S GREAT NEWSPAPERS THE BRONZE FIGURES OF MINERVA AND THE BELLRINGERS ARE THE WORK OF ANTONIN JEAN CARLES.

THEY STOOD, FROM 1895 TO 1921. ABOVE THE CORNICES OF JAMES GORDON BENNETT'S NEW YORK HERALD BUILDING ON THE NORTH SIDE OF HERALD SQUARE AND TOLLED THE ACTIVE HOURS TO THE MILLIONS. IN 1928, THEY WERE GIVEN BY WILLIAM T. DEWART, PUBLISHER OF THE NEW YORK SUN, TO NEW YORK UNIVERSITY, THROUGH WHOSE GENEROSITY IN 1928 THEY ENTERED ON PERMANENT LOAN,

THE CARE OF THE DEPARTMENT OF PARKS OF THE CITY OF NEW YORK, THAT THEY MAY BE HERE RESTORED TO THEIR ORIGINAL AREA OF PLEASANT SERVICE, AND TO THEIR PLACE IN THE HEARTS OF OUR CITIZENS. FUNDS FOR THE RESTORATION WERE PROVIDED BY SUBSCRIPTION OF BUSINESS ORGANIZATIONS WHOSE LIVES ARE DEEP ROOTED IN THE NEIGHBORHOOD OF HERALD SQUARE. MCMXL

The original three-dimensional work shown in this image is free content and in the public domain because its copyright has expired.

This applies to the United States, where 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 are now in the public domain and also in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Jean Antonin Carles, French, 1851-1919) and that most commonly run for a period of 50 to 70 years from that date.

Image License: I, (sookietex) the creator of this work, hereby release it into the public domain. This applies worldwide. In case this is not legally possible, I grant any entity the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

If This image is subject to copyright in your jurisdiction, i (sookietex) the copyright holder have irrevocably released all rights to it, allowing it to be freely reproduced, distributed, transmitted, used, modified, built upon, or otherwise exploited in any way by anyone for any purpose, commercial or non-commercial, with or without attribution of the author, as if in the public domain.