Columbia Along The Platte
‘The Story of the Battle For the Heart of America’
Rena lied when she told me there was nothing there in Nebraska for me. She failed to mention the scaled down version of the Statue of Liberty placed on the banks of the Platte River where Rena said she used to swim. After she rolled me over on my back, and locked my legs with her ankles, I know my muse wanted to be a Bad Girl, and, had succeeded. This was our first kiss. We were fully clothed. She was determined to win – come out on top! She was – LIBERATED! No one could tame her. But, I saw something in this Midwest Beauty that ran hidden under the surface. I saw that she was a Goddess!
However, there was a dark side of Rena, that she admits was there, and was the source of abuse she subjected me to. May the Light of Liberty come forth and once again reign over this Freedom Land. The Goddess Columbia opened her arms to everyone.
As the Chosen Prophet of The Church of Art, I have the ability to summon, reborn, and channel the Great Artists of our Past, in order to arrive at Lost Truths. I cast off my disguise to expose a younger version of myself, for We Artists – ARE ONE!
We made America – even greater! Freedom is a work in progress! As the artist Bartholdi, I bring a message from The Eternally Creative Afterlife………
“President Trump……Tear down your wall!”
Until Donald Trump resigns in disgrace, or, is forced out of office, or, is Impeached, CHART gives spiritual permission for all athletes to ignore the tainted national anthem, and honor Columbia. May every bowed head and raised hand, hold The Torch of Liberty!
Despite the shock and dismay from the presidential election, we cling to the knowledge that the Goddess still rises. In fact, the female archetype is about the only thing that can save us now. The female divine is at the very root of the founding of this nation, and one look at the green lady in the New York Harbor with her torch held high tells us that the female divine is what lights the way to a brighter future as well.
Focus on these symbols. Remember that symbols are the only way to communicate with the subconscious, where true change occurs. Words and language and facts don’t matter to the subconscious, images do.
What attracted us to study the suffragists of the early 20th century was their successful use of symbolism to convince the reluctant majority to join their radical cause. They chose symbols for themselves that fit right into the American tradition, thus subconsciously comforting those afraid of change. Since the founding of our Republic, Americans have used the allegorical female to convey messages of so-called WOMEN’s strengths — strengths such as caregiving, caution, protection of the young, and enlightenment.
According to William Studwell, “Columbia, the Gem of the Ocean” is the “oldest well-known song of entirely American origin which could, by style or content, qualify as a national anthem“. In the mid-1800s, “Columbia the Gem of the Ocean” vied with other songs in the American “Patriotic Big Five” (also including “Hail, Columbia“, the “Star-Spangled Banner”, “Yankee Doodle“, and “My Country Tis of Thee“) for use as a national anthem, the United States at the time having no song officially designated as such.
The photo below left from the 1913 suffrage parade in Washington DC shows Inez Milholland dressed as the Herald, an allegorical female that became the logo for the National Women’s Party. Look her up – Inez Milholland — she has a fascinating story, and we all should have learned about her in history class.
The Broadside (above, right) is from Harriot Stanton Blatch’s organization, and shows the Herald awakening New York City. The allegorical female symbol gave the suffrage movement a link to the past and a sense of authority.
John Ambrose <firstname.lastname@example.org>
01/21/10 at 7:40 AM
|For years I identified Rena as my Muse, and my sister’s Muse because a painting I did of Rena inspired Christine to become an artist. I do not believe she will laugh at this historic connection. There exists one very bad biography about Christine and her family, and a coffee table book is coming out. In my story I call Rena the goddess, because she took a pose like the goddess, Diana, in the University Museum in her green cape, saying this would make a better sculpture then the one we beheld. She had shown me the life-size sculpture her boyfriend was doing of – himself – and I was flabbergasted he was not rendering Rena, and said so. How narcissistic that he put himself up on a pedestal. Rena looked dismayed herself. I am sure she would get what I am referring to.
I might rename my story ‘The Last Time I Saw My Muse’. A Muse is a goddess. You have this name in your e-mail. Why? Can I deduce you believe in a goddess? Are you a Christian? How about the others you refer to as “we”? Sounds like you people are being a bit provincial – in God’s Country! Do you believe Jesus is God?
I am a theologian who is writing a book on the Nazarites and have found a lineage of female prophets. I have exchanged information with Margaret Starbird and others who subscribe to ideas put forth in the Davinci Code.
Rena acted like a goddess when I met her. She claimed I was the first to look behind her façade and communicate directly with the simple young woman I found TRAPPED there, by her beauty. The title of the autobiography I have been working on for a number of years is titled ‘Capturing Beauty’ as in taking Beauty hostage. Rena and her sisters who were models are at the core of story. Christine, who was once a simple and lovely person, used models from fashion magazines to render her paintings that made her millions, and were found all over the world.
Men and women worship beautiful women. Apparently you worship Rena. Why are you so interested in finding her, if you had no relationship with her? How about the others, that you employ in a information game – against me? I have GIVEN freely of privileged information that belongs to Rena and I. You and the alleged others are acting stingy. Why? You had your shot at her when she was your schoolmate. Why was a search launched – just to find Rena? I am sure there are less pretty girls un-accounted for that are just aching to get some attention.
You, and maybe other – contacted me!
It looks like Rena and you went to the University of Nebraska at the same time. You didn’t tell me that! Why? Because you have been covert, while I have been overt, I have to imply what you are implying – that I am stalking Rena in some manner and for reasons she would have no interest in, and would object to! How dare you!
You had no relationship with her – like I did – and this seems to be upsetting you. People who have played information games with me in the past – have lost! You are playing a game. You bid me to reveal very private and personal matters in order to find the whereabouts of someone you have a forty year crush on. Get over it!
Have you considered Rena might be dead? People have accidents. Also, if she married a British Admiral, then he might have been wealthy and a member of British aristocracy. It appears the Isle of Wight attracts retired Naval people who are probably a tight bunch, and thus, Rena is no out of OUR league! She is probably a citizen of the Commonwealth, and considers Britain her country. She may not be looking homeward in any manner. She might have felt lost when her husband died, and briefly touched her roots when she got scanty information to her Highschool alumni.
I plan to REVEAL more about Rena then you will ever be able to reveal to me. I am only interested in finding her. If you are suggesting you are going to prevent me from finding Rena in any manner, with the alleged help of fellow teenage classmates, then, think again! I will make the cover, overt, and let Rena see all the information regarding her.
If I had not been generous with you, then you would know next to nothing about her! Next to nothing! You do not want to fight with me, for our correspondence is already HISTORIC, a part of real Art History. This is why I bothered to give you a lengthy response.
Why do you say she was troubled? Are you speaking for yourself?
“We knew her as a lovely, sweet and troubled young woman.”
She was troubled because most people around her acted weird around her because she was so beautiful. This is what she told me – at length! How many plain, or ugly classmates would you title “troubled”? Perhaps you are projecting your own troubles on Rena, such as feeling awkward in her presence, the presence of the goddess – you put on a pedestal before I allegedly did?
I have to laugh, because, what we got here looks like a High School rivalry! But, then there might not be anything to laugh at, because you are stalking her, and she knows it! That you project that on me, and asked me not to reveal your name on my blog, is suspicious. Did you persue her while you two were in college? Did she reject you – again?
] It was rumored in France that the face of the Statue of Liberty was modeled after Bartholdi’s mother. The statue is 151 feet and 1 inch high, and the top of the torch is at an elevation of 305 feet 1 inch from mean low-water mark. It was the largest work of its kind that had ever been completed up to that time.
The work for which Bartholdi is most famous is Liberty Enlightening the World, better known as the Statue of Liberty. Soon after the establishment of the French Third Republic, the project of building some suitable memorial to show the fraternal feeling existing between the republics of the United States and France was suggested, and in 1874 the Union Franco-Americaine (Franco-American Union) was established by Edouard de Laboulaye. Bartholdi’s hometown in Alsace had just passed into German control in the Franco-Prussian War. These troubles in his ancestral home of Alsace are purported to have further influenced Bartholdi’s own great interest in independence, liberty, and self-determination. Bartholdi subsequently joined this group, among whose members were Laboulaye, Paul de Rémusat, William Waddington, Henri Martin, Ferdinand Marie de Lesseps, Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, Oscar Gilbert Lafayette, François Charles Lorraine, and Louis François Lorraine.
Bartholdi served in the Franco-Prussian War of 1870 as a squadron leader of the National Guard, and as a liaison officer to General Giuseppe Garibaldi, representing the French government and the Army of the Vosges. As an officer, he took part in the defense of Colmar from Germany. Distraught over his region’s defeat, over the following years he constructed a number of monuments celebrating French heroism in the defense against Germany. Among these project was the Lion of Belfort, which he started working on in 1871, not finishing the massive sandstone statue until 1880.
In 1871, he made his first trip to the United States, where he pitched the idea of a massive statue gifted from the French to the Americans in honor of the centennial of American independence. The idea, which had first been broached to him in 1865 by his friend Édouard René de Laboulaye, resulted in the Statue of Liberty in New York harbor. After years of work and fundraising, the statue was inaugurated in 1876. During this period, Bartholdi also sculpted a number of monuments for American cities, such as a cast-iron fountain in Washington, DC completed in 1878.[3
In 1875, he joined the Freemasons Lodge Alsace-Lorraine in Paris. In 1876, Bartholdi was one of the French commissioners in 1876 to the Philadelphia Centennial Exposition. There he exhibited bronze statues of The Young Vine-Grower, Génie Funèbre, Peace and Genius in the Grasp of Misery, receiving a bronze medal for the latter. His 1878 statue Gribeauval became the property of the French nation.
The Statue of Liberty is a figure of a robed woman representing Libertas, a Roman liberty goddess. She holds a torch above her head with her right hand, and in her left hand carries a tabula ansata inscribed in Roman numerals with “JULY IV MDCCLXXVI” (July 4, 1776), the date of the U.S. Declaration of Independence. A broken chain lies at her feet. The statue became an icon of freedom and of the United States, and was a welcoming sight to immigrants arriving from abroad.
Bartholdi was inspired by a French law professor and politician, Édouard René de Laboulaye, who is said to have commented in 1865 that any monument raised to U.S. independence would properly be a joint project of the French and American peoples. Because of the post-war instability in France, work on the statue did not commence until the early 1870s. In 1875, Laboulaye proposed that the French finance the statue and the U.S. provide the site and build the pedestal. Bartholdi completed the head and the torch-bearing arm before the statue was fully designed, and these pieces were exhibited for publicity at international expositions.
The Roman Republic was established simultaneously with the creation of Libertas and is associated with the overthrow of the Tarquin kings. She was worshipped by the Junii, the family of Marcus Junius Brutus the Younger. In 238 BC, before the Second Punic War, Tiberius Gracchus built a temple to Libertas on the Aventine Hill. Census tables were stored inside the temple’s atrium. A subsequent temple was built (58–57 BC) on Palatine Hill, another of the Seven hills of Rome, by Publius Clodius Pulcher. By building and consecrating the temple on the site of the former house of then-exiled Cicero, Clodius ensured that the land was legally uninhabitable. Upon his return, Cicero successfully argued that the consecration was invalid and thus managed to reclaim the land and destroy the temple. In 46 BC, the Roman Senate voted to build and dedicate a shrine to Libertas in recognition of Julius Caesar, but no temple was built; instead, a small statue of the goddess stood in the Roman Forum.
Libertas, along with other Roman goddesses, has served as the inspiration for many modern-day symbols, including the Statue of Liberty on Liberty Island in the United States. According to the National Park Service, the Statue’s Roman robe is the main feature that invokes Libertas and the symbol of Liberty from which the Statue derives its name.
In addition, money throughout history has borne the name or image of Libertas. Libertas was pictured on Galba‘s “Freedom of the People” coins during his short reign after the death of Nero. The University of North Carolina records two instances of private banks in its state depicting Libertas on their banknotes; Libertas is depicted on the 5, 10 and 20 Rappen denomination coins of Switzerland.
The Greek equivalent of the goddess Libertas is Eleutheria, the personification of liberty.
Marianne is a significant republican symbol, opp to monarchy, and an icon of freedom and democracy against all forms of dictatorship. Other national symbols of France include the tricolor flag, the national motto Liberté, Égalité, Fraternité, the national anthem “La Marseillaise“, as well as the coat of arms and the official Great Seal of France.
“Columbia” (/kəˈlʌmbiə/; kə-LUM-bee-ə) is a historical name used by both Europeans and Americans to describe the Americas, the New World, and often, more specifically, the United States of America. It is also a name given to the “Spirit of the Frontier” of which was used to illustrate Manifest Destiny among several other American political causes. It has given rise to the names of many persons, places, objects, institutions, and companies; e.g., Columbia University, the District of Columbia (the national capital), and the ship Columbia Rediviva, which would give its name to the Columbia River. Images of the Statue of Liberty largely displaced personified Columbia as the female symbol of the U.S. by around 1920.
Columbia is a New Latin toponym, in use since the 1730s, for the Thirteen Colonies. It originated from the name of Italian explorer Christopher Columbus and from the ending -ia, common in Latin names of countries (paralleling Britannia, Gallia etc.).
Columbia for America—at the time used in the sense of “European colonies in the New World”.
The name was perhaps first coined by Samuel Johnson, thought to have been the author of an introductory essay (in which “Columbia” already appears) which explained the conceit of substituting “Lilliputian” for English names; Johnson also wrote down the Debates from 1740 to 1743. The name continued to appear in The Gentleman’s Magazine until December 1746. Columbia seems an obvious calque on America, substituting the base of the surname of the discoverer Christopher Columbus for the base of the given name of the somewhat less well-known Amerigo Vespucci Vespucius.
As the debates of Parliament, many of whose decisions directly affected the colonies, were distributed and closely followed in the British colonies in America, the name “Columbia” would have been familiar to the United States’ founding generation.
In the second half of the 18th century, the American colonists were beginning to acquire a sense of having an identity distinct from that of their British cousins on the other side of the ocean. At that time, it was common for European countries to use a Latin name in formal or poetical contexts to confer an additional degree of respectability on the country concerned. In many cases, these nations were personified as pseudo-classical goddesses named with these Latin names. Located on a continent unknown to and unnamed by the Romans, “Columbia” was the closest that the Americans could come to emulating this custom.
By the time of the Revolution, the name Columbia had lost the comic overtone of its “Lilliputian” origins and had become established as an alternative, or poetic name for America. While the name America is necessarily scanned with four syllables, according to 18th-century rules of English versification, Columbia was normally scanned with three, which is often more metrically convenient. The name appears, for instance, in a collection of complimentary poems written by Harvard graduates in 1761, on the occasion of the marriage and coronation of King George III.
The name “Columbia” rapidly came to be applied to a variety of items reflecting American identity. A ship built in Massachusetts in 1773, received the name Columbia Rediviva; it later became famous as an exploring ship, and lent its name to new “Columbias.”
No serious consideration was given to using the name Columbia as an official name for the independent United States, but with independence the name became popular and was given to many counties, townships, and towns, as well as other institutions, e.g.:
In part, the more frequent usage of the name Columbia reflected a rising American neoclassicism, exemplified in the tendency to use Roman terms and symbols. The selection of the eagle as the national bird, the heraldric use of the eagle, the use of the term Senate to describe the upper house of Congress, and the naming of Capitol Hill and the Capitol building were all conscious evocations of Roman precedents.
The adjective Columbian has been used to mean “of or from the United States of America”, for instance in the 1893 World’s Columbian Exposition held in Chicago, Illinois. It has occasionally been proposed as an alternative word for “American”.
Columbian should not be confused with the adjective “Pre-Columbian“, referring to a time period before the arrival of Christopher Columbus in 1492.
As a quasi-mythical figure, Columbia first appears in the poetry of African-American Phillis Wheatley starting in 1776 during the revolutionary war:
One century scarce perform’d its destined round,
Especially in the 19th century, Columbia would be visualized as a goddess-like female national personification of the United States and of Liberty itself, comparable to the British Britannia, the Italian Italia Turrita, and the French Marianne, often seen in political cartoons of the 19th-early 20th century. This personification was sometimes called “Lady Columbia” or “Miss Columbia”. Such iconography usually personified America in the form of an Indian queen or Native American princess
The image of the personified Columbia was never fixed, but she was most often presented as a woman between youth and middle age, wearing classically-draped garments decorated with stars and stripes. A popular version gave her a red-and-white-striped dress and a blue blouse, shawl, or sash, spangled with white stars. Her headdress varied; sometimes it included feathers reminiscent of a Native American headdress; sometimes it was a laurel wreath, but most often it was a cap of liberty.
Early in World War I (1914–1918) the image of Columbia standing over a kneeling “Doughboy” was issued in lieu of the Purple Heart Medal. She gave “to her son the accolade of the new chivalry of humanity” for injuries sustained in “the” World War.
In World War I the name “Liberty Bond” for savings bonds was heavily publicized, often with images from the Statue of Liberty. The personification of Columbia fell out of use, and she was largely replaced by the Statue of Liberty as a feminine symbol of the United States. When Columbia Pictures adopted Columbia as its logo in 1924, she appeared (and still appears) bearing a torch—similar to the Statue of Liberty, and unlike 19th-century depictions of Columbia.
Statues of the personified Columbia may be found, among others, in the following places: