In the Fall of 1857, some 120 California-bound emigrants were killed in lonely Mountain Meadows in southern Utah; only eighteen young children were spared. The men on the ground after the bloody deed took an oath that they would never mention the event again, either in public or in private. The leaders of the Mormon church also counseled silence. The first report, soon after the massacre, described it as an Indian onslaught at which a few white men were present, only one of whom, John D. Lee, was actually named. With admirable scholarship, Mrs. Brooks has traced the background of conflict, analyzed the emotional climate at the time, pointed up the social and military organization in Utah, and revealed the forces which culminated in the great tragedy at Mountain Meadows. The result is a near-classic treatment which neither smears nor clears the participants as individuals. It portrays an atmosphere of war hysteria, whipped up by recitals of past persecutions and the vision of an approaching "army" coming to drive the Mormons from their homes.

Contains bills and other legislative documents.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.