Answer:
<h3>The Senate Republicans rejected certain provisions of the Treaty of Versailles and the League of Nations.</h3>
Explanation:
- When President Wilson proposed for the Treaty of Versailles and an international organization which he believed would govern international relations and interactions, it was rejected by the the allied forces as well by the Senate Republicans.
- The Republican Senate leader, Henry Cobot Lodge was very skeptical about Wilson's proposal for the treaty. The Senate Republicans were against certain provisions of the treaty which they believed would hamper U.S's interest in world politics and economy.
- Lodge, therefore, proposed for certain reservations or exemptions and amendments in the provisions in the treaty which would enhance U.S's interest in the world politics.
- Wilson's failure to address Lodge's proposals in the treaty led Senate Republicans to vote against the treaty and consequently U.S failed to join the League of Nations.
On this day in 1919, President Woodrow Wilson attends the Paris Peace Conference that would formally end World War I and lay the groundwork for the formation of the League of Nations.
Wilson envisioned a future in which the international community could preempt another conflict as devastating as the First World War and, to that end, he urged leaders from France, Great Britain and Italy to draft at the conference what became known as the Covenant of League of Nations. The document established the concept of a formal league to mediate international disputes in the hope of preventing another world war.
Once drawn, the world’s leaders brought the covenant to their respective governing bodies for approval. In the U.S., Wilson’s promise of mutual guarantees of political independence and territorial integrity to great and small states alike rankled the isolationist Republican majority in Congress. Republicans resented Wilson’s failure to appoint one of their representatives to the peace delegation and an equally stubborn Wilson refused his opponents’ offers to compromise. Wary of the covenant’s vague language and potential impact on America’s sovereignty, Congress refused to adopt the international agreement for a League of Nations.
At a stalemate with Congress, President Wilson embarked on an arduous tour across the country to sell the idea of a League of Nations directly to the American people. He argued that isolationism did not work in a world in which violent revolutions and nationalist fervor spilled over international borders and stressed that the League of Nations embodied American values of self-government and the desire to settle conflicts peacefully.
The tour’s intense schedule cost Wilson his health. During the tour he suffered persistent headaches and, upon his return to Washington, he suffered a stroke. He recovered and continued to advocate passage of the covenant, but the stroke and Republican Warren Harding’s election to the presidency in 1921 effectively ended his campaign to get the League of Nations ratified. The League was eventually created, but without the participation of the United States.
Answer:
The Silk Road extended approximately 6,437 kilometers (4,000 miles) across some of the world's most formidable landscapes, including the Gobi Desert and the Pamir Mountains.
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Answer:
Explanation:Born Maria Antonia Montoya, Maria Martinez became one of the best-known Native potters of the twentieth century due to her excellence as a ceramist and her connections with a larger, predominantly non-Native audience. Though she lived at the Pueblo of San I.l.d.e.f.o.n.s.o, about 20 miles north of Santa Fe, New Mexico, from her birth in 1887 until her death in 1980, her work and her life had a wide reaching importance to the Native art world by re-framing Native ceramics as a fine art. Before the arrival of the railroad to the area in the 1880's, pots were used in the Pueblos for food storage, cooking, and ceremonies. But with inexpensive pots appearing along the rail line, these practices were in decline. By the 1910's, Ms. Martinez found a way to continue the art by selling her pots to a non-Native audience where they were purchased as something beautiful to look at rather than as utilitarian objects.
Her mastery as a ceramist was noted in her village while she was still young. She learned the ceramic techniques that were used in the Southwest for several millennia by watching potters from San I.l.d.e.f.o.n.s.o, especially her aunt N.i.c.h.o.l.a.s.a as well as potters (including Margaret T.a.f.o.y.a from Santa Clara), from other nearby Pueblos. All the raw materials had to be gathered and processed carefully or the final vessel would not fire properly. The clay was found locally. To make the pottery stronger it had to be mixed with a temper made from s.h.e.r.d.s of broken pots that had been pounded into a powder or volcanic ash. When mixed with water, the elasticity of the clay and the strength of the temper could be formed into different shapes, including a rounded pot (known as an o.l.l.a) or a flat plate, using only the artist’s hands as the potting wheel was not used. The dried vessel needed to be scraped, sanded, smoothed, then covered with a slip (a thin solution of clay and water). The slip was polished by rubbing a smooth stone over the surface to flatten the clay and create a shiny finish—a difficult and time-consuming process. Over the polished slip the pot was covered with designs painted with an iron-rich solution using either pulverized iron ore or a reduction of wild plants called g.u.a.c.o. These would be dried but required a high temperature firing to change the brittle clay to hard ceramics. Even without kilns, the ceramists were able to create a fire hot enough to transform the pot by using manure.
Making ceramics in the Pueblo was considered a communal activity, where different steps in the process were often shared. The potters helped each other with the arduous tasks such as mixing the paints and polishing the slip. Ms. Martinez would form the perfectly symmetrical vessels by hand and leave the decorating to others. Throughout her career, she worked with different family members, including her husband Julian, her son Adam and his wife Santana, and her son P.o.p.o.v.i D.a. As the pots moved into a fine art market, Ms. Martinez was encouraged to sign her name on the bottom of her pots. Though this denied the communal nature of the art, she began to do so as it resulted in more money per pot. To help other potters in the Pueblo, Ms. Martinez was known to have signed the pots of others, lending her name to help the community. Helping her Pueblo was of paramount importance to Ms. Martinez. She lived as a proper Pueblo woman, avoiding self-aggrandizement and insisting to scholars that she was just a wife and mother even as her reputation in the outside world increased.
Maria and Julian Martinez pioneered a style of applying a matte-black design over polished-black. Similar to the pot pictured here, the design was based on pottery s.h.e.r.d.s found on an Ancestral Pueblo dig site dating to the twelfth to seventeenth centuries at what is now known as B.a.n.d.e.l.i.e.r National Monument. The M.a.r.t.i.n.e.z.e.s worked at the site, with Julian helping the archaeologists at the dig and Maria helping at the campsite. Julian Martinez spent time drawing and painting the designs found on the walls and on the s.h.e.r.d.s of pottery into his notebooks, designs he later recreated on pots. In the 1910's, Maria and Julian worked together to recreate the black-on-black ware they found at the dig, experimenting with clay from different areas and using different firing techniques. Taking a cue from Santa Clara pots, they discovered that smothering the fire with powdered manure removed the oxygen while retaining the heat and resulted in a pot that was blackened. This resulted in a pot that
