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"Ledger art is a term for predominantly Plains Indian, but also from the Plateau and Great Basin, narrative drawing or painting on paper or cloth. Ledger art flourished primarily from the 1860s to the 1920s. A revival of ledger art began in the 1960s and 1970s. The term comes from the accounting ledger books that were a common source of paper for Plains Indians during the late 19th century. Kiowa ledger art drawing possibly depicting the Buffalo Wallow battle in 1874, a fight between Southern Plains Indians and the U.S. Army during the Red River War. Historical precedents The Sand Creek massacre as drawn by eyewitness Howling Wolf (1874–1875). Ledger art evolved from Plains hide painting."Ledger Art History." Department of Ethnic Studies, University of California San Diego: Plains Indian Ledger Art Project. 2011 (retrieved 2 Oct 2011) Among Plains tribes, women have historical painted abstract geometrical designs, such as those found in parfleches, whereas men paint representational designs. The men's designs were often heraldic devices or visions painted on shields, tipis, shirts, leggings, or robes. Before the Plains tribes were forced to live on reservations in the 1870s, men generally painted personal feats in battle or hunting.Hansen, 138 Plains ledger art depicted communally acknowledged events of valor and tribal importance in order to gain status for the individuals who participated in them, and their band and kin. Plains pictorial art emphasizes narrative action and eliminates unnecessary detail or backgrounds.Greene, 11 Figures tended to be drawn in hard outlines and filled with solid fields of color.Greene, 63 These narrative works were all historically painted on animal hides – particularly buffalo hides. When buffalo became scarce after the US federal government's eradication programs, Plains artists began painting and drawing on paper, canvas, and muslin. New materials An increasing supply of ledger books and other paper came from traders, government agents, missionaries, and military officers.Swan, 70 With these came pencils, ink fountain pens, crayons, and watercolor paints.Hansen, 139 These new tools allowed for greater detail and experimentation than the earlier tools, such as bone or wood styli dipped in mineral pigments, had. The compact ledger books and pencils were highly portable, making them ideal for nomadic lifestyles.Greene, 13 Fort Marion Black Hawk (Sans Arc Lakota), c. 1880 depicting a horned Thunder Being (Haokah) on a horse-like creature with eagle talons and buffalo horns. The creature's tail forms a rainbow that represents the entrance to the Spirit World, and the dots represent hail. Accompanying the picture on the page were the words: "Dream or vision of himself changed to a destroyer and riding a buffalo eagle." Some of the most well-known ledger drawing artists were prisoners of war at Fort Marion in St. Augustine, Florida. In 1874, in what became known as the Red River War or Buffalo War, a group of Cheyenne, Kiowa, Comanche, warriors fought the US Army to protect the last free herd of buffalo and to assert their autonomy.Szabo, 12–14 In the harsh winter of 1874 to 1875, many tribal camps were forced to surrender to various Indian agencies, and the supposed leaders of the Red River War were rounded up and sent to Fort Marion.Szabo, 14 From 1875 to 1878, the 71 men and one woman were under the command of Richard Henry Pratt, who used the opportunity to give the Indians a Western education.Szabo, 25 He also provided the prisoners with basic art supplies, such as pencils, ink, crayons, watercolor paint, and paper. Twenty- six of the Fort Marion prisoners engaged in drawing. They were younger Cheyenne, Arapaho, and Kiowa men.Szabo, 29 Some of the most prolific and well- known artists include Paul Caryl Zotom (Kiowa); David Pendleton Oakerhater or Making Medicine (Cheyenne); Tichkematse or Squint Eyes (Cheyenne), who later worked for the Smithsonian Institution in Washington, DC; Wohaw (Kiowa); Howling Wolf (Cheyenne); Etahdleuh Doanmoe (Kiowa); White Bear (Arapaho); Koba (Kiowa); and Bear’s Heart (Cheyenne). Tichtematse, Howling Wolf, White Bear, and Koba all continued drawing after their release from prison.Szabo, 110 Cheyenne Dog Soldier artists Following a July, 1869 battle at Summit Springs in northeastern Colorado, a ledger book was retrieved from the Cheyenne's burned village. A Calvary trooper's notations on one of the pages states, "This book was captured by the Fifth U.S. Calvary on their charge through the Indian Village July 10th 69." The collection of drawings are known as the Summit Springs Sketchbook, or Dog Soldier Ledger Book. The drawings in the book depict events and people from the period between the 1864 Sand Creek Massacre and the 1869 Summit Springs Battle. =Major artists= * Bear With Feathers - created 25 drawings in which he rendered the human figures, and it appears that another artist drew the horses. *White Bird - created seventeen drawings, fourteen of which were autobiographical. *Red Lance - created sixteen drawings, six of which are autobiographical, two depict Buffalo Robe, three depict White Horse, and the rest depict other warriors. Red Lance often drew horses in true profile. *Unidentified artist (Two Birds or Black Bear) - created ten pages. Two Birds is depicted with a complete eagle feather fall, and carrying a red shield; Black Bear is depicted with an upright headdress with several ermine tails. =Minor artists= White Horse created three drawings using the "X-ray technique". Pistol created three autobiographical drawings using the X-ray technique. Tomahawk created four highly graphic drawings. White Wolfcreated five drawings, three of which were autobiographical. Warrior X (unnamed) created three autobiographical drawings. Subject matter Battle exploits dominated ledger art. Other themes such as hunting, courtship,Fauntleroy, Gussie. "Ledger Art: Looking Between the Lines." Native Peoples. Sept/Oct 2011 (retrieved 7 Aug 2011) and religious practices were common subjects. Ledger artists also documented their rapidly changing environment by portraying encroaching European Americans and new technologies such as trains and cameras. Many ledger artists worked with ethnologists, by documenting shield and tipi designs, ethnobotanical information, winter counts, dance customs and regalia, and other cultural information. Dreams and visions inspired ledger art just as they had inspired earlier hide paintings.Hansen, 140 The artists creating ledger art today often reference pre-reservation lifeways, historical transitions, and social commentary. They use this style to illustrate cultural continuity between historical and contemporary Native life. Easel arts The warrior "Low Dog" by Red Dog, 1884 ledger art Missionaries, anthropologists, and tourists eagerly collected ledger books in the late 19th century. Carl Sweezy (Southern Arapaho, 1881–1953) and Haungooah (Silver Horn) (Kiowa, 1860–1940) both established professional careers as ledger artists. These early Southern Plains easel artists in turn inspired the Kiowa Six. These artists painted with Western art-grade materials and met with international success when they exhibited their work in the 1928 International Art Congress in Prague, Czechoslovakia. Contemporary interpretations Numerous Northern and Southern Plains artists create ledger paintings, today, including many women artists despite Plains narrative figuritive painting being a masculine art genre in the past.Pearce, p. xiii Many seek out 19th-century documents on which to paint, creating ironic juxtapositions between the printed text and the paintings. Dwayne Wilcox (Oglala Lakota) uses the style of 19th-century Lakota painters to express humorous views of modern realities for Lakota people. Arthur Amiotte (Oglala Lakota) builds upon the collage aspect of ledger art and combines text, photography, naturalistic painting and stylized Plains pictorial art in his work. Dolores Purdy (Caddo/Winnebago) is a woman ledger artist who uses bright colors and female figures frequently in her work.Fauntleroy, Gussie. "Ledger art: Looking between the lines." Native Peoples. Sep–Oct 2011. Retrieved 9 Oct 2013. Notable ledger artists=Historical= *Amos Bad Heart Bull, Oglala Lakota *Black Hawk, Sans Arc Lakota *Howling Wolf (Cheyenne) Bow String Warrior Society Member *Jaw (Ćehu′pa) or His Fight (Okicize Tawa) (ca. 1853-1924), Hunkpapa Lakota, created the Amidon Ledger *Michael Horse, Yaqui/Mescalero Apache/Zuni-descent *Red Horse (Lakota chief), Lakota, 42 ledger drawings of Battle of the Little Big Horn *St. David Pendleton Oakerhater, Southern Cheyenne, member of the Bow String Warrior Society *Silver Horn, Kiowa *Sitting Bull, Hunkpapa Lakota"Sitting Bull's ledger drawings." Smithsonian Institution Collections Search Center. (retrieved 14 Aug 2010) *White Horse, Kiowa * Yellow Nose, Ute, captured as a Child by Cheyenne. Dog Soldier Warrior Society Member =Contemporary= *Arthur Amiotte (Oglala Lakota) *Lauren Good Day, Ledger art, beadwork, quillwork, parfleche, clothing & fashion artist. Arikara, Hidatsa, Blackfeet & Plains Cree descent. *George Curtis Levi, Southern Cheyenne, Arapaho-Ledger Art, Parfleche, Native Fashion * Dolores Purdy Corcoran (Caddo/Winnebago) *Robert "Running Fisher" Upham, Dakota, Interior Salish *Dwayne Wilcox (Oglala Lakota) Gallery File:Lakota Dead at Battle of Little Bighorn.jpgRed Horse Ledger art of Lakota Killed at Little Bighorn. Published as Plate XLIV File:Annual report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution (1888) (19367428281).jpgRed Horse Ledger art of Lakota killed at Little Bighorn. Published as Plate XLV File:Ledger drawing - Cheyenne and Pawnee or Osage fight.jpgthumbLedger drawing - Cheyenne and Pawnee or Osage fight File:Maffet Ledger- Drawing MET DP318424.jpgthumbMaffet Ledger - Drawing Metropolitan Museum DP318424 File:Maffet Ledger- Drawing MET page66.jpgthumbMaffet Ledger - Drawing Metropolitan Museum page66; graphite, watercolor and crayon ReferencesFurther reading * Greene, Candace S. Silver Horn: Master Illustrator of the Kiowas. Norman: University of Oklahoma Press, 2001. . * Hansen, Emma I. Memory and Vision: Arts, Cultures, and Lives of Plains Indian People. Cody, WY: Buffalo Bill Historical Center, 2007. . * Pearce, Richard. "Women and Ledger Art: Four Contemporary Native American Artists." University of Arizona Press, 2-13. . * Swan, Daniel C. Peyote Religious Art: Symbols of Faith and Belief. Jackson: University of Mississippi Press, 1999. . * Szabo, Joyce M. Art from Fort Marion: The Silberman Collection. Norman: University of Oklahoma Press, 2007. . External links *Ledger drawings in the Smithsonian Institution's collections *Ledger Art Collection at the Milwaukee Public Museum *Plains Indian Ledger Art Project, University of California, San Diego *Keeping History: Plains Indian Ledger Drawings, Online exhibition from Smithsonian Institution Indigenous culture of the Great Plains Native American art Native American painting Art movements "
"Minuscule 171 (in the Gregory-Aland numbering), ε 407 (Soden), is a Greek minuscule manuscript of the New Testament, on parchment. Palaeographically it has been assigned to the 14th century.K. Aland, M. Welte, B. Köster, K. Junack, "Kurzgefasste Liste der griechischen Handschriften des Neues Testaments", Walter de Gruyter, Berlin, New York 1994, p. 57. It has complex contents and full marginalia. Description The codex contains a complete text of the four Gospels on 254 thick parchment leaves (size ). It is written in one column per page, in 20 lines per page (size of column 8.5 by 6.5 cm). The text is written in black ink, the capital letters in red. It is ornamented with silver. The text is divided according to the (chapters), whose numbers are given at the margin, and their (titles of chapters) at the top of the pages. There is also a division according to the smaller Ammonian Sections (Mark 236 - 16:12), with references to the Eusebian Canons (written below Ammonian Section numbers). It contains prolegomena, tables of the (tables of contents) before each Gospel, lectionary markings at the margin, (lessons), and subscriptions at the end of each Gospel. Text The Greek text of the codex is a representative of the Byzantine text-type. Aland placed it in Category V. According to the Claremont Profile Method it represents cluster Π171 in Luke 1, Luke 10, and Luke 20. History The manuscript was once in the property of Achilles Statius, as also was minuscule 169. It was examined by Bianchini, Birch (about 1782), and Scholz. C. R. Gregory saw it in 1886. It is currently housed at the Biblioteca Vallicelliana (C. 73.2), at Rome. See also * List of New Testament minuscules * Biblical manuscript * Textual criticism References Further reading * External links Greek New Testament minuscules 14th-century biblical manuscripts "
"Barrington Dacres (died 25 October 1806) was an officer of the Royal Navy, who saw service during the French Revolutionary and Napoleonic Wars. He eventually rose to the rank of Post-Captain. He did not see action in many significant engagements, and is chiefly remembered for the accidental loss of his ship to the French, and for the unsuccessful chase of two French ships in the English Channel. He did command a number of ships of the line under several of the leading naval commanders of his time. His early death though prevented him from achieving the same seniority and degree of fame as his relatives did. Family and early life Barrington was born the eldest son of Captain, later Vice-Admiral, James Richard Dacres, and his wife Eleanor Blandford Pearce. The Dacres would eventually become a substantial naval dynasty. Barrington's brother James Richard Dacres became a vice-admiral, as did Barrington's uncle Richard Dacres, while his cousin Sydney Dacres became an admiral, and First Sea Lord. Career Barrington Dacres took command of the newly converted bomb vessel in 1799. He remained in command until 27 February 1801, when he put into the Italian port of Ancona, unaware that it had been captured by the French. The French seized the Bulldog. Captain Thomas Rogers of attempted to recapture the Bulldog by cutting her out of the port. Although Rogers nearly successful, the British were forced to abandon her again. She was finally retaken off Gallipoli on 16 September 1801 by Lord William Stuart's . Dacres's career does not appear to have been particularly adversely affected by the accidental loss of his ship. He was promoted to Post-Captain on 29 April 1802. He took command of the 74-gun third rate in May 1803, and recommissioned her in July that year. On 5 June, he captured the Petronelle. By September, he was cruising in the English Channel as part of Sir Edward Pellew's squadron, when the French 74-gun Duguay-Trouin was spotted sailing in company with the 38-gun frigate Guerrière. The two had already been engaged by , under Captain John Maitland, but the French ships had driven her off and were now bound for Corunna. Dacres took the Culloden in pursuit, eventually closing the distance and opening fire. The Duguay-Trouin was first to reach the safety of the port, but Dacres continued to engage the Guerrière until he was almost under the guns of the shore batteries. He eventually veered away, having inflicted considerable damage and several casualties. Dacres remained in command of Culloden until being succeeded by Captain George Reynolds in February 1804. Dacres then took command of the 74-gun in February, and was involved in the blockade of Brest, under Rear-Admiral Cuthbert Collingwood. He was succeeded by John Hunter in August 1804. By January 1805, Dacres was briefly aboard , taking over from Captain Francis Temple, but by March, Temple was back in command. He took command of HMS Hercule, capturing a number of merchant vessels carrying sugar on 9 July 1806. Death Barrington Dacres appears to have been in poor health and died at Bath, Somerset on 25 October 1806. He predeceased his father, who died in January 1810. NotesReferences 1806 deaths Royal Navy officers Royal Navy personnel of the French Revolutionary Wars Royal Navy personnel of the Napoleonic Wars Year of birth missing "