History
Human presence in the area has been dated to over 10,000 years before present. Permanent settlements by ancestors of the Puebloan peoples have been dated to 1150 BCE; these settlers had moved closer to the Rio Grande by 1550. The distribution of basalt and obsidian artifacts from the area, along with other traded goods, rock markings, and construction techniques, indicate that its inhabitants were part of a regional trade network that included what is now Mexico. Spanish settlers arrived in the 18th century. The Pueblo Jose Montoya brought Adolph Bandelier to visit the area in 1880; Bandelier, looking over the cliff dwellings, announced "It is the grandest thing I ever saw." President Woodrow Wilson signed the legislation creating the monument in 1916, and infrastructure, including a lodge, was built during the 1920s and 1930s. The monument was closed to the public for several years during World War II, since the lodge was being used to house personnel working on the Manhattan Project.
The structures at the monument built during the Great Depression by the Civilian Conservation Corps constitute the largest assembly of CCC-built structures in a National Park area that has not been altered by new structures in the district. This group of 31 buildings illustrates the guiding principles of National Park Service Rustic architecture.
Read more about this topic: Bandelier National Monument
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“All things are moral. That soul, which within us is a sentiment, outside of us is a law. We feel its inspiration; out there in history we can see its fatal strength.”
—Ralph Waldo Emerson (1803–1882)
“Don’t give your opinions about Art and the Purpose of Life. They are of little interest and, anyway, you can’t express them. Don’t analyse yourself. Give the relevant facts and let your readers make their own judgments. Stick to your story. It is not the most important subject in history but it is one about which you are uniquely qualified to speak.”
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“The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism.... Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.”
—Camille Paglia (b. 1947)