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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this wide-ranging study, Stephen Stuempfle explores the transformation of the landscape (material environment) of Port of Spain from the cocoa boom era at the turn of the twentieth century through Trinidad and Tobago's independence from Britain in 1962. In addition to outlining the creative work of planners, architects, engineers and builders, he examines depictions of the city in journalism, travel literature, fiction, photographs and maps, and elucidates how diverse social groups employed urban spaces both in their day-to-day lives and for public celebrations and protests. Over the course of the seven decades considered, Port of Spain was a dynamic centre for interactions among British officials; American entrepreneurs, military personnel and tourists; and a rapidly growing local population that both perpetuated and challenged the colonial regime. Many people perceived the city as a vanguard space - a locale for pursuing new opportunities and experiences. By drawing on a rich array of written and visual sources, Stuempfle immerses the reader in the sights and sounds of the city's streets, parks, yards and various buildings to reveal how this complex environment evolved as a realm of collective endeavour and imagination. He argues that the urban landscape served as a key site for the display and negotiation of Trinidad's social order during its gradual transition from colonial rule to self-government. For Port of Spain's inhabitants, the construction of a modern capital city was interrelated, both practically and symbolically, with the building of a society and a new nation-state.

Excerpt from Builders of Spain Beginning with Geryon, who, Mariana tells us, was accounted by Greek and Latin authors the first king of Spain, and whose name, he also says, was Chaldean for stranger, we read of invasion after invasion; of Celtic, Phoenician, Carthaginian, Roman, Vandalic, Visigothic, Moorish and Arabic conquest and domination. The numbers of these invading hosts are now generally conceded to have been relatively small as compared with the native population; furthermore, its aboriginal stock has been the only permanent force in the history of the peninsula. But the native Spaniard was lacking in initiative and leadership, and each alien people in turn has left the impress of its char acter upon the civilization of its period, and upon the cities which were their chief monuments. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.