Southern Cross Down Under
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Economist Was a Workhorse for the Confederacy and Her Owners, the Trenholm Firms, John Fraser & Co
CONFEDERATE HISTORICAL ASSOCIATION OF BELGIUM Nassau, Bahamas (Illustrated London News Feb. 10, 1864) By Ethel Nepveux During the war, the Economist was a workhorse for the Confederacy and her owners, the Trenholm firms, John Fraser & Co. of Charleston, South Carolina, and Fraser, Trenholm & Co. of Liverpool, England, and British Nassau and Bermuda. The story of the ship comes from bits and pieces of scattered information. She first appears in Savannah, Georgia, where the Confederate network (conspiracy) used her in their efforts to obtain war materials of every kind from England. President Davis sent Captain James Bulloch to England to buy an entire navy. Davis also sent Caleb Huse to purchase armaments and send them back home. Both checked in to the Fraser, Trenholm office in Liverpool which gave them office space and the Trenholm manager Charles Prioleau furnished credit for their contracts and purchases. Neither the men nor their government had money or credit. George Trenholm (last Secretary of the Treasury of the Confederacy) bought and Prioleau loaded a ship, the Bermuda, to test the Federal blockade that had been set up to keep the South from getting supplies from abroad. They sent the ship to Savannah, Georgia, in September 1861. The trip was so successful that the Confederates bought a ship, the Fingal. Huse bought the cargo and Captain Bulloch took her himself to Savannah where he had been born and was familiar with the harbor. The ship carried the largest store of armaments that had ever crossed the ocean. Bulloch left all his monetary affairs in the hands of Fraser, Trenholm & Co. -
Officers and Crew Jack L
Marshall University Marshall Digital Scholar C.S.S. Alabama: An Illustrated History Library Special Collections Fall 10-10-2017 Part 2: Officers and Crew Jack L. Dickinson Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/css_al Part of the Military History Commons, and the United States History Commons Recommended Citation Dickinson, Jack L., "Part 2: Officers and Crew" (2017). C.S.S. Alabama: An Illustrated History. 2. http://mds.marshall.edu/css_al/2 This Article is brought to you for free and open access by the Library Special Collections at Marshall Digital Scholar. It has been accepted for inclusion in C.S.S. Alabama: An Illustrated History by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. CSS Alabama : An Illustrated History In Six Parts: You are here Part 1: Building of Ship 290 ---> Part 2: Officers and Crew Part 3: Cruise of the Alabama Part 4: Battle with USS Kearsarge Part 5: Wreck Exploration & Excavation Part 6: Miscellaneous and Bibliography (the Alabama Claims, poems, music, sword of Raphael Semmes) To read any of the other parts, return to the menu and select that part to be downloaded. Designed and Assembled by Jack L. Dickinson Marshall University Special Collections 2017 1 CSS Alabama: An Illustrated History Officers and CREW OF THE CSS ALABAMA During the Civil War naval officers were divided into four categories for purposes of berthing and messing aboard ship: cabin, wardroom, steerage, and forward officers. The captain had a private state room, and higher ranking officers had small cabins, while lower ranks only had individual lockers. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Civic Flag Policy
Civic Flag Policy Date Authorised by Council: 10 March 2021 Commencement Date: 11 March 2021 Review Date (4 years from authorised date): March 2025 Responsible Department Governance and Strategy This policy has been adopted by Council. 1 INTRODUCTION The flying of flags is a visible symbol of respect and acknowledgement. Every sovereign nation flies its own national flag as the symbol of the country, of the people, of the ideals and beliefs that those people live by and proclaim. Flying the Aboriginal and Torres Strait Islander flags demonstrates Council’s recognition of First Nation peoples and demonstrates our respect and acknowledgement. The flags that are to be flown permanently pursuant to this policy are the Australian National Flag, Aboriginal and Torres Strait Islander Flags and the Moreland City Council Flag. The Moreland City Council Flag will be substituted with other flags of significance as required by the Community Flag Schedule. Flags flown in accordance with the Community Flag Schedule will be flown in accordance with the relevant protocol and Council resolution. 2 CONTEXT 2.1 Alignment • The Flags Act 1953 • Australian National Flag protocol 3 OBJECTIVES To clearly outline Council’s approach to the flying of the flags at Council’s Town Halls and other facilities and to establish a mechanism to consider requests for flying of flags of significant to the Moreland community. 4 POLICY DETAILS 4.1 AUSTRALIAN NATIONAL FLAG The Australian National Flag is the chief national symbol and was raised for the first time on 3 September 1901 in the presence of the first Australian Prime Minister, the Hon. -
The Story of the Stars & Stripes
The Story of the Stars & Stripes By the US Marine Corps The story of the origin of our national flag parallels the story of the origin of our country. As our country received its birthright from the peoples of many lands who were gathered on these shores to found a new nation, so did the pattern of the Stars and Stripes rise from several origins back in the mists of antiquity to become emblazoned on the standards of our infant Republic. The star is a symbol of the heavens and the divine goal to which man has aspired from time immemorial; the stripe is symbolic of the rays of light emanating from the sun. Both themes have long been represented on the standards of nations, from the banners of the astral worshippers of ancient Egypt and Babylon to the 12-starred flag of the Spanish Conquistadors under Cortez. Continuing in favor, they spread to the striped standards of Holland and the West Indian Company in the 17th century and to the present patterns of stars and stripes on the flags of several nations of Europe, Asia, and the Americas. The first flags adopted by our Colonial forefathers were symbolic of their struggles with the wilderness of a new land. Beavers, pine trees, rattlesnakes, anchors, and various like insignia with mottoes such as “Hope”, “Liberty”, “Appeal to Heaven” or “Don’t Tread on Me” were affixed to the different banners of Colonial America. The first flag of the colonists to have any resemblance to the present Stars and Stripes was the Grand Union flag, sometimes referred to as the “Congress Colors”. -
Seacare Authority Exemption
EXEMPTION 1—SCHEDULE 1 Official IMO Year of Ship Name Length Type Number Number Completion 1 GIANT LEAP 861091 13.30 2013 Yacht 1209 856291 35.11 1996 Barge 2 DREAM 860926 11.97 2007 Catamaran 2 ITCHY FEET 862427 12.58 2019 Catamaran 2 LITTLE MISSES 862893 11.55 2000 857725 30.75 1988 Passenger vessel 2001 852712 8702783 30.45 1986 Ferry 2ABREAST 859329 10.00 1990 Catamaran Pleasure Yacht 2GETHER II 859399 13.10 2008 Catamaran Pleasure Yacht 2-KAN 853537 16.10 1989 Launch 2ND HOME 856480 10.90 1996 Launch 2XS 859949 14.25 2002 Catamaran 34 SOUTH 857212 24.33 2002 Fishing 35 TONNER 861075 9714135 32.50 2014 Barge 38 SOUTH 861432 11.55 1999 Catamaran 55 NORD 860974 14.24 1990 Pleasure craft 79 199188 9.54 1935 Yacht 82 YACHT 860131 26.00 2004 Motor Yacht 83 862656 52.50 1999 Work Boat 84 862655 52.50 2000 Work Boat A BIT OF ATTITUDE 859982 16.20 2010 Yacht A COCONUT 862582 13.10 1988 Yacht A L ROBB 859526 23.95 2010 Ferry A MORNING SONG 862292 13.09 2003 Pleasure craft A P RECOVERY 857439 51.50 1977 Crane/derrick barge A QUOLL 856542 11.00 1998 Yacht A ROOM WITH A VIEW 855032 16.02 1994 Pleasure A SOJOURN 861968 15.32 2008 Pleasure craft A VOS SANTE 858856 13.00 2003 Catamaran Pleasure Yacht A Y BALAMARA 343939 9.91 1969 Yacht A.L.S.T. JAMAEKA PEARL 854831 15.24 1972 Yacht A.M.S. 1808 862294 54.86 2018 Barge A.M.S. -
ICV20 Tomlinson.Pub
The virtual battle: Flags in Georgian marine paintings Barbara Tomlinson Abstract The 18th century saw the development of an English school of marine painting following the example of the Dutch in the previous century. When representing naval battles, artists needed to handle numerous technical details including the depiction of British squadronal colours, distin- guishing flags and signal flags. This paper examines selected actions painted by Samuel Scott (1701/2-1772), Nicholas Pocock (1741-1821), Thomas Whitcombe (c.1752-1827) and William Anderson (1757-1837) and ask - how accurate were these artists, how did they research their paintings, how did they display flags for dramatic effect and who was their intended audience? The resources of the National Maritime Museum’s collections used to illustrate this subject in- clude prints, drawings and documents. The British maritime victories of the sailing navy era were immortalized by contemporary artists. Originally a Dutch genre, by the middle of the 18th century, marine pictures were also produced by British painters who specialised in these scenes. I would like to consider the relationship between the reality and the representation with particular reference to the way the artist shows British flags, concentrating on some of the less well-known battles. One painter who took considerable pains to include accurate detail was Nicholas Po- cock. A sketchbook survives compiled by Pocock during the Battle of the Glorious 1st of June when he was able to observe the action directly from the frigate Pegasus. These small and indistinct views remind us that in contrast to the way vessels are shown in marine paintings, in reality, everything would have been much more spread out and much further away. -
THE EAST LOTHIAN FLAG COMPETITION the Recent
THE EAST LOTHIAN FLAG COMPETITION The recent competition held to select a flag for the county of East Lothian, elicited four finalists; three of these were widely criticised for falling short of good design practice, as promoted for several years, by such bodies as the North American Vexillological Association and the Flag Institute. The latter’s Creating Local & Community Flags guide , as recently advertised by the Flag Institute's official Twitter feed on Monday 8th October 2018, states on page 7, that "Designs making it to the shortlist of finalists must meet Flag Institute design guidelines to ensure that all potential winning designs are capable of being registered." and further notes that "Flags are intended to perform a specific, important function. In order to do this there are basic design standards which need to be met." Page 8 of the same guide, also declares, "Before registering a new flag on the UK Flag Registry the Flag Institute will ensure that a flag design: Meets basic graphical standards." This critique demonstrates how the three flags examined, do not meet many of the basic design standards and therefore do not perform the specific and important intended functions. As a result, on its own grounds, none of the three can be registered by the Flag Institute. Flag B Aside from the shortcomings of its design, Flag B fails to meet the Flag Institute's basic requirement that any county flag placed on the UK Flag Registry cannot represent a modern administrative area. The Flag Institute’s previously cited, community flag guide, describes on page 6, the categories of flags that may be registered; "There are three types of flag that might qualify for inclusion in the UK Flag Registry: local community flags (including cities, towns and villages), historic county flags and flags for other types of traditional areas, such as islands or provinces. -
The Colours of the Fleet
THE COLOURS OF THE FLEET TCOF BRITISH & BRITISH DERIVED ENSIGNS ~ THE MOST COMPREHENSIVE WORLDWIDE LIST OF ALL FLAGS AND ENSIGNS, PAST AND PRESENT, WHICH BEAR THE UNION FLAG IN THE CANTON “Build up the highway clear it of stones lift up an ensign over the peoples” Isaiah 62 vv 10 Created and compiled by Malcolm Farrow OBE President of the Flag Institute Edited and updated by David Prothero 15 January 2015 © 1 CONTENTS Chapter 1 Page 3 Introduction Page 5 Definition of an Ensign Page 6 The Development of Modern Ensigns Page 10 Union Flags, Flagstaffs and Crowns Page 13 A Brief Summary Page 13 Reference Sources Page 14 Chronology Page 17 Numerical Summary of Ensigns Chapter 2 British Ensigns and Related Flags in Current Use Page 18 White Ensigns Page 25 Blue Ensigns Page 37 Red Ensigns Page 42 Sky Blue Ensigns Page 43 Ensigns of Other Colours Page 45 Old Flags in Current Use Chapter 3 Special Ensigns of Yacht Clubs and Sailing Associations Page 48 Introduction Page 50 Current Page 62 Obsolete Chapter 4 Obsolete Ensigns and Related Flags Page 68 British Isles Page 81 Commonwealth and Empire Page 112 Unidentified Flags Page 112 Hypothetical Flags Chapter 5 Exclusions. Page 114 Flags similar to Ensigns and Unofficial Ensigns Chapter 6 Proclamations Page 121 A Proclamation Amending Proclamation dated 1st January 1801 declaring what Ensign or Colours shall be borne at sea by Merchant Ships. Page 122 Proclamation dated January 1, 1801 declaring what ensign or colours shall be borne at sea by merchant ships. 2 CHAPTER 1 Introduction The Colours of The Fleet 2013 attempts to fill a gap in the constitutional and historic records of the United Kingdom and the Commonwealth by seeking to list all British and British derived ensigns which have ever existed. -
The Navy in the Civil
The Navies of the Civil War Overview Anderson, Bern. By Sea and by River: the Naval History of the Civil War. New York: Knopf, 1962. F834 A545b Hearn, Chester G. Naval battles of the Civil War. San Diego: Thunder Bay Press, 2000. UN834 H436n 2000 Oversized Material Porter, David D. The Naval History of the Civil War. New York: Sherman Publishing Co., 1886. F834 P84n Union Joiner, Gary D. Mr. Lincoln’s Brown Water Navy: the Mississippi Squadron. Lanham: Rowman & Littlefield Publishers, 2007. UN834 J74m Merrill, James M. The Rebel Shore: the Story of Union Sea Power in the Civil War. Boston: Little, Brown, 1957. F834 M571r Taaffe, Stephen R. Commanding Lincoln's Navy: Union Naval Leadership During the Civil War. Annapolis, Maryland: Naval Institute Press, 2009. UN834 T111c Confederacy Campbell, R. Thomas, editor. Voices of the Confederate Navy: Articles, Letters, Reports, and Reminiscences. Jefferson, North Carolina: McFarland & Company, 2008. UN861 V889 Hearn, Chester G. Gray Raiders of the Sea: How Eight Confederate Warships Destroyed the Union's High Seas Commerce. Camden, Maine: International Marine Publishing, 1992. F834z H436g Scharf, J. Thomas. History of Confederate States Navy from Its Organization to the Surrender of Its Last Vessel. Albany, New York: Joseph McDonough, 1894. F834z S31h 1894 Gunboats Walke, Henry. Naval Scenes on the Western Waters. The gunboats Taylor, Carondelet and Lafayette. [S.l., 187-?] F8347 N318 Gosnell, Harpur Allen. Guns on the Western Waters: the Story of River Gunboats in the Civil War. Baton Rouge: Louisiana State University Press, [1949]. F834 G677g Joyner, Elizabeth Hoxie. The USS Cairo: History and Artifacts of a Civil War Gunboat. -
Perfidious Albion: Britain, the USA, and Slavery in Ther 1840S and 1860S Marika Sherwood University of London
Contributions in Black Studies A Journal of African and Afro-American Studies Volume 13 Special Double Issue "Islam & the African American Connection: Article 6 Perspectives New & Old" 1995 Perfidious Albion: Britain, the USA, and Slavery in ther 1840s and 1860s Marika Sherwood University of London Follow this and additional works at: https://scholarworks.umass.edu/cibs Recommended Citation Sherwood, Marika (1995) "Perfidious Albion: Britain, the USA, and Slavery in ther 1840s and 1860s," Contributions in Black Studies: Vol. 13 , Article 6. Available at: https://scholarworks.umass.edu/cibs/vol13/iss1/6 This Article is brought to you for free and open access by the Afro-American Studies at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Contributions in Black Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Sherwood: Perfidious Albion Marika Sherwood PERFIDIOUS ALBION: BRITAIN, THE USA, AND SLAVERY IN THE 1840s AND 1860s RITAI N OUTLAWED tradingin slavesin 1807;subsequentlegislation tight ened up the law, and the Royal Navy's cruisers on the West Coast B attempted to prevent the export ofany more enslaved Africans.' From 1808 through the 1860s, Britain also exerted considerable pressure (accompa nied by equally considerable sums of money) on the U.S.A., Brazil, and European countries in the trade to cease their slaving. Subsequently, at the outbreak ofthe American Civil War in 1861, which was at least partly fought over the issue ofthe extension ofslavery, Britain declared her neutrality. Insofar as appearances were concerned, the British government both engaged in a vigorous suppression of the Atlantic slave trade and kept a distance from Confederate rebels during the American Civil War. -
Scanned Using Book Scancenter 5033
Proc. XVII International Congress of Vexillology 149 Copyright ©1999, Southern African Vexillological Assn. Australia’s new flag Peter Martinez (ed.) nullius - land belonging to none - is now discredited.^ Australia’s present makes sense only from its past. The seeds of its future and,its future flag are already there. Integration of symbols requires the integrity of candour. The elemental idea of this paper is that integration of peoples and syrnbols comes from integrity of mind. Integrity will not ignore atrocities. Nor Australia’s new flag - will it cultivate political correctness of one kind or another. Civic harmony grows from mutual respect for different traditions and from shared experience. a pageant of colours and What many in Australia still recognise as mateship. The second point of reference in this paper is the symbolic power of colour. integrated symbols Colour crosses many margins and several meanings. Applied to people who stand behind flags and symbols, colour is an atavistic and sensitive issue in any couptry. Colour, and the differences of which the rainbow is an ancient symbol,^ A.C. Burton is a subtle issue for Australia, which seeks a harmony of cultures. Despite the goodwill and the good works of the last 200 years that out- measure mcdice, Australia is still a whole continent where a nation-state - but ABSTRACT: The history and significance of colour themes in Aus not quite a state of nation - has been built upon the dispossession of peo tralian vexillography are explored to provide a reference pdint for ples. Sovereign in custom, language, ritual, religion, in seals and symbols, and evolving and depicting old symbols in a new way, to weave from an above all in deep relationship to the land, Australia’s Aboriginal people are still ancient Dreaming new myths for a nation’s healing.