Dr. Bob and his ArtCar We the People featured in bmore magazine and Artscape!

Dr. Bob and his ArtCar We the People featured in bmore magazine and Artscape!

What Drives An Artist to Paint Cars?

From the bmore feature by Jolene Carr with photographs by Steve Ruark

Tuesday, July 17, 2012

Bob Hieronimus recounts his notable artistic accomplishment of painting more than 50 murals in Baltimore.
 
There’s the 2,700 square-foot “The Apocalypse,” finished in 1969 at Johns Hopkins University, which depicts history as a cyclical force. His “E Pluribus Unum” completed in 1985 features famed diners at the Lexington Market. The 1996 “A Little Help From Our Friends” on the side of the Safe and Smart Community Resource Center on Greenmount Avenue portrays inspirational figures from Bob Marley to Rachel Carson.
 
But Hieronimus’ friendly blue eyes light up when he explains that his preferred canvas comes on four wheels. This summer will mark his 6th year participating in Artscape’s Art Car Exhibit, displaying a biodiesel-fueled 1984 Mercedes, known as “We the People.”
 
One of the nation’s largest free arts festivals, Artscape welcomes more 350,000 visitors during its three-day run each July and generates nearly $26 million for Baltimore. This year’s festival runs July 20-22 and marks its 31-year anniversary and its 19th year showcasing the art car exhibit.
 
One of Artscape’s most popular feature, the exhibit showcases cars with outlandish designs covering every inch of their frame. The cars attract a crowd, some with their mouths agape and observing in silence and others chatting with their friends about the visual spectacle before them. Artists design their cars without restraints, says Artscape Visual Arts Coordinator Jim Lucio. Art cars have ranged from a giant banana to an all-glass motif.
 
Hieronimus and his car remain memorable. “Bob is a great art car ambassador,” Lucio says. “He’s very engaging with the festival crowd and shows a great local car that everyone enjoys.”
 
Like his other artwork, Hieronimus’ art car begs for constant reassessment and rediscovery.  He says art cars are like billboards with different stories.
 
Hieronimus’ “We the People” car offers a harmonious blend of symbols and people, including the first African American astronomer Benjamin Banneker, the Iroquois prophet Deganawida and the names of six Iroquois nations scrolled across the hood. It also features Thomas Jefferson and Jimi Hendrix doing his Woodstock rendition of “The Star Spangled Banner. “ Hieronimus describes this as a reminder “that America has a spiritual destiny.”
 
The Owings Mills native and host of 21st Century Radio, Hieronimus says he wants people to see cars as symbolic change agents.
 
 “The reason why I painted cars was not the reason why most people painted cars,” says Hieronimus, 68, sporting a ponytail under his Beatle’s Yellow Submarine hat.
 
He started doing it in the 60s, at a time of what he describes as “mega-corruption.”
 
But artists like himself felt there was nothing they could do about it.
 
“We felt totally powerless, and when we talked to other people about it, they would say, ‘Ah, you’re just 22 years old, what the hell do you know?’ I realized that if I had something to say I better put it on a billboard. Well I couldn’t buy a billboard because I didn’t have any money. So I painted my car.”
 
Hieronimus’ first car depicted money, soda and other “American hang-ups.” In 1968 he painted his famous “Light” the Woodstock Bus that became emblematic of the festival’s free spiritedness.
 
His fondness for mobile art especially lies in the bus. “It has big, flat areas,” explains Hieronimus.
 
“When you do a theme or a group of symbols, you have more places to work with. With the Mercedes or similar cars, there’s a lot of changes in the shape of them, so it’s more difficult.”
 
After a 30-year hiatus, Hieronimus’ next art car would be “Founding Fathers’ Secret Societies” in 2006, the first car that was Artscape-bound.
 
Hieronimus says he takes three to six months forming and revising designs on a schematic that resembles a paint-by-number. A skilled art car artist is also mindful of the upholstery color and car windows, considering how to best marry the interior with the exterior.
 
Implementing the final designs on the vehicle generally takes four to five months of 14-to-16 hour days. Hieronimus purchases roughly $5,000 in One Shot paint, a toxic paint used for vehicle surfaces. He used more than 100 quarts in 26 colors, eight different shades of red for each stripe on the car for his “Founding Fathers” art car.
 
Hieronimus says that aside from elderly ladies who often scoff at covering the surface of a classic Mercedes, he gets appreciative reactions from onlookers, whether he’s at Artscape, an Oriole’s game, or out running errands.
 
With four books from four different publishers in the works, Hieronimus says he has no desire to design a new art car but will continue to showcase “We the People.”
 
He does hope to inspire potential art car artists and offers advice.
 
“You are allowed from that standpoint to build your own little story  —  a story about who you are. If you follow through, you will really have something later on to enjoy. You’re bringing pleasure to all kinds of people.”

Jolene Carr is Bmore Media’s summer intern and a graduate student at Towson University. She is originally from Syracuse, N.Y.

PHOTOS:

Bob Hieronimus and his art car.

A detail of Bob Hieronimus’s art car.

All photographs by STEVE RUARK

as published by bmore – https://bmoremedia.com/features/artcar071712.aspx

Thank you to everyone who posted birthday wishes for me on Facebook

Thank you to everyone who posted birthday wishes for me on Facebook
(and sent cards and Emails)!



Happy Birthday! Thank you to everyone who posted birthday wishes for me here (and sent cards and Emails)! My family knows I take birthdays very seriously, celebrating for weeks in advance. I’m sorry I’m not on Facebook much, and don’t post immediate responses, but that’s the way it is with the promises I made this lifetime. It won’t surprise some of you to learn that I have lived many lifetimes as a soldier, including my last lifetime during the American Revolution, when I paid the ultimate sacrifice and died in battle even before the Declaration of Independence was signed. This lifetime I was allowed to serve our beloved nation in the capacity of educator, artist, and author, and within these boundaries I am still motivated to serve every waking moment challenging the forces bent on destroying our Constitutional Republic.

These thoughts are at the forefront of my mind lately, as I’ve been working on a book about the Statue of Liberty to show how she is a manifestation of the Divine Feminine. Once again, I am astounded at the conspiracy theories that a small pocket of ill-informed paranoid bigots spread about this female symbol, and am reminded of the current conspiracy theories being collected around our first black president. The Statue of Liberty is attacked by the fundamentalist-conspiratorialists because she is a goddess, and as such, they see her as a threat to their concept of Christianity, where any depiction of divinity other than their paternalistic God the Father and Son is, by necessity, Satanic. Right now the hate-mongers are raging that Mr. Obama was raised a Muslim and therefore they fear he will be too tolerant of Muslims entering what they call “this Christian nation”. These American extremists fear Muslims because they believe Muslims are intent on taking over the world and wiping out Christianity. There are so many holes in this argument, I will focus on just the one. America is not a Christian nation. It was not founded as a Christian nation. The majority of our Founding Fathers were Christians, but as Deists, they were motivated by the philosophy of reason and the Age of Enlightenment, in which one of their priorities was to create a land were religious tolerance was enshrined in Law. The separation of church and state was the goal. Christianity was not promoted – liberty and religious tolerance were promoted. America was never a Christian nation.

In addition to my work on the Statue of Liberty, I’ve also been working on my memoirs (in which a number of you will play a part), as well as a revised version of my book on the Yellow Submarine.

Anyway, that’s one of the reasons you don’t see me lurking the halls of Facebook much. But your heart-warming birthday greetings brought me out of my lair long enough to pen you this missive. As Ben Franklin wrote for his epitaph, showing his belief in reincarnation: “The body of B. Franklin, printer, (like the cover of an old book, its contents torn out and stript of its lettering and gilding) lies here, food for worms, but the work shall not be lost for it will appear once more, in a new and more elegant edition, revised and corrected by the author.” My own hope is to revise and correct my own edition before returning to the other dimensions. Life is a school, and as usual, I’m late for class. See you on the radio! (please visit the 21st Century Radio page and give us a “like”!)

 

The Restoration of the Apocalypse Mural: Progress Update August 9, 2015

 

 

The Restoration of the Apocalypse Mural
Progress Update August 9, 2015

by Robert R. Hieronimus, Ph.D.
The main wall of the recreated Apocalypse Mural completed by Julie Horton, MFA under the supervision of Dr. Bob Hieronimus.

I originally completed the Apocalypse mural at Johns Hopkins University in February 1969. It was commissioned by Dr. Chester Wickwire, Chaplain of the Johns Hopkins University. A crew of artists and I have been working on restoring this mural since May 2015. It must be completed by August 20, 2015 when the students return. Although we have been making great progress we still have a very long way to go.

Dr. Bob Hieroniumus, 1969

The major difficulty resulted from changing to a water-based paint, instead of oil-based for the gold and silver colors. The fumes from the oil-based paint are dangerous, and especially in regard for the children who share the space for the Johns Hopkins University tutorial project, we decided to switch. At least 50% of the mural is covered in gold and silver. Using water-based paint, we found we had to apply three coats each to cover over effectively. Worse, the ceiling of the mural, the most difficult to paint, is covered in at least 70% gold and silver. Having to paint so much of the mural three times over again has been an exceedingly difficult task, and it has forced us to increase our schedule to working seven days a week to get the job done on time.

Check our website for the first update on the restoration progress and more background on the meaning and interpretation of this mural, plus an introduction to the artists I have entrusted to rebirth this piece. This Progress Update is divided by artist and the sections they have concentrated on to show our progress through the summer.

Our Team: Justin Williams, Ph.D., foreman; Ashley Pratt, BFA; Julie Ann Horton, M.F.A.; Kristie Winther, BFA; Ashley Stafford; Andreina Mijares Cisneros, Senior, Studio Art Major, Notre Dame of MD University, 2016.

Before they began working on this restoration project all the artists had to prepare with a mini-course in Symbology 101. They needed an introduction to the mural’s meaning, its history and why it is so controversial. How its use of symbols tells the story of how, why, and who was responsible for the destruction of the democratic republic of the United States and who turned it into an oligarchy which gave the power to the 1%, and denied the 99%, the We the People, their right to self-rule. They were all given copies of my research and a booklet that detailed the mural’s meaning and interpretation. They all got a copy of The Dictionary of Symbols by J.E. Cirlot. They each received a box containing 144 images from the many hundreds of photos and slides taken of the original 1969 mural. These photos included the changes forced on the mural by Johns Hopkins University without my knowledge. They also were assigned to read articles on the mural and reviews.

All of this material was given freely, not to expect them to believe any of the information, but because it was important they know the origins and the struggle to keep this public work of art in existence. They also got to see the 1971 PBS documentary “Artist of Savitria” that shows me talking about this mural and my approach to creating art for public consciousness-raising. After all this preparation I was assured they knew what the mural was about and how it came into being. None of the artists worked for less than $20/hour, a higher wage than most artists get, and which none of them had been paid before. We felt it important to give value for value.

On May 15, 2015 we entered the Fray!


The heart of the mural depicts the American Eagle with a broken right wing (the right wing of the Republican Party) from which fire and water flood the Statue of Liberty and bridges on both the West and East Coasts. The American Eagle is sinking into the sea and the names of the corporate powers that dominated America in 1969 when the mural was original (and continue to dominate today) are found covering the body of the eagle. America is no longer a republic, meaning our representative democracy has become an oligarchy. Corporate power is vested in the 1%, a dominant class whose patriarchal philosophy is domination. Their success will be short-lived, however. Nature will take care of them, and the 99%. Above the dying eagle is a purple spiritual eagle, which is rising to the ceiling and eventually turns into a Phoenix. In time, America will be reborn!

The first image here is a newly resurrected heart of the mural, done under my supervision by Julie Anne Horton, MFA, MICA. The remaining photos show our crew of artists and the areas of the mural that they are each responsible for resurrecting. For the most part they each got to choose which section they wanted to work on, but in nearly all cases, members of the entire crew contributed a hand in the redrawing and some of the painted details elsewhere when needed.


Dr. Zohara Hieronimus, D.H.L.

The most important soul of this incarnation is my beloved wife of 35 years, Dr. Queen Zohara. She is a wise soul who knew we were to join forces when we first met. She was aware of my purpose in this life and from the very beginning gave me the glorious freedom to focus on what we needed to accomplish together as a team. From this bonding a great deal of good and sacred work has been accomplished, including this 2015 restoration of the Apocalypse Mural. My wife Zohara is the lead funder of this project, and we are all eternally grateful to her for her generosity of spirit.

Click images to enlarge.

The first photo shows Zohara introducing her proposal to Johns Hopkins University for a gallery-like seating arrangement for visitors to the mural and the after school CSI tutoring program.

Here is Zoh meeting with Flux Studios principal Glenn Shrum in search of a creative solution for illuminating the mural.

Collaboration between Dr. Zohara, CSI-Tutorial teacher Young Song and Glenn Shrum of Flux Lighting.

Zoh in front of the “Annuit Coeptis” red flower.
 

Dr. Zohara in front of the Christos-Gnosis alcove which she studied in the early 1970s.
Zoh before the Egyptian Sphinx and pyramids which we visited together and photographed in 1981-82, arranging for a Sister-City relationship for Mayor William Donald Schaefer and President Anwar El Sadat.

Lemurian Ancient Temple Blocks

The entrance to the Apocalypse mural is a stairway, and on each side are stones 1.5×3 feet in size that serve as the foundation for the ancient temples of Lemuria and Atlantis. These stones were said to have been covered in precious metals of silver, gold and bronze. Our foundation stones have lost their alleged metals and are a reddish stone bearing other sacred elements. I wanted to recreate them and put a little “magic” into them.

Dr. Bob Hieronimus before the purple flower that gives birth to “E Pluribus Unum,” out of many, one, found on the Obverse of the Great Seal of the United States.
Two photos show the terrible condition of the stairs nearly obliterating the stones.
First stage of the stone’s rebirth.
Second stage of the stone’s rebirth.
Two photos of the final result.

Justin Williams, Ph.D. is the foreman on the Apocalypse Mural Restoration project for 2015, just as he has been for several other mural project and artcars I’ve worked on in the last few years. He has turned into one of my dearest friends and co-workers, and I have depended on him to get the job done at all costs. He always delivers!

Justin C. Williams, Ph.D., foreman
Born in Boston, Massachusetts in 1962, Justin C. Williams began practicing art as a young child. In 1986 Justin graduated with a Bachelor’s Degree in architecture and design from the University of Wisconsin and then worked for two years as an industrial designer in a Milwaukee-area firm. In 1996 Justin returned to drawing and painting, following several years away from practicing art while he pursued a graduate degree in systems analysis from the Johns Hopkins University in Baltimore, Maryland. Since the late 1990’s his artwork has focused on several themes. His work has been shown in solo and group exhibits in Anchorage, Alaska, Milwaukee, and Baltimore. A complete portfolio of his work can viewed at the Facebook site “JCW Artwork”. Justin has had the pleasure and good fortune to work on four of Dr. Bob’s other public art projects including restoring the “A Little Help From Our Friends” mural (2008), his “We the People” art car (2008), a live painting performance at the Wind Up Space in Baltimore (2009), the “We the People” mural (2013), and the restoration of the “Apocalypse” mural (2015).

Justin chose to focus on the stairwell of the Apocalypse, depicting the lost continents of Lemuria and Atlantis and their demises.

The first photo shows a little of what he was faced with in restoring this area:

The following images show he returned Poseidon to his former glory.

After Justin completed this area he continued his contributions, and overseeing the crew making sure everyone stayed on schedule. He is an excellent problem solver!


One of the most difficult areas to recreate on the Apocalypse mural was the main wall. We call it the American Eagle wall. This was undertaken by Julie Anne Horton, MFA, and she completed it on July 28, 2015 as seen here, with all but the dedication panel complete.

Julie Anne Horton, M.F.A.
Julie was raised in Zanesville, Ohio and received her BFA in Painting and Art Education from Ohio University. After living and working in Seattle, Washington, she returned to the East Coast to attend graduate school in Baltimore, Maryland. She earned her MFA in Painting from the Maryland Institute College of Art. She is currently painting and teaching in Baltimore, Maryland.

Here is what the main wall looked like before Julie began her work

The following photos show how she accomplished this difficult task.

Once she finished the American Eagle wall, Julie continued painting elsewhere.

Another MICA-trained artist who has assisted me in previous projects, is Ashley Pratt, BFA, who worked with us on the “We the People” mural restoration in 2013. Ashley was always the most colorfully attired of our team! She is also full of practical ideas as to how to get the job done efficiently and she shares her ideas selflessly.

Ashley Pratt, B.F.A.
Ashley’s canvas is often edible, as she was trained at Charm City Cakes and worked professionally at La Cakerie as a cake decorator. Ashley earned a BFA from the Maryland Institute College of Art (MICA) Magna Cum Laude in 2014. She studied under famed American painter Vincent Desiderio at the New York Academy of Art (NYAA). Pratt’s paintings range from hand held memories to work bigger than she. Ashley worked under Dr. Bob’s tyranny in 2013 on the We the People mural.

Ashley undertook the difficult task of recreating the Isis Temple. Just take a look at what she was faced with in the first photo, and how she completed it over time in the following photos. Ashley Pratt restored the temple of the Goddess!


We were blessed by hiring Kristie Winther. Perhaps it was her MICA training that gave her the confidence and drive to recreate nearly an entire wall of the most challenging problems. From the very first day I saw her work I remarked on her no-nonsense, quiet and deliberate attention of getting the job done. She was among the fastest and most accurate artists I’ve ever worked with, and these are invaluable skills when working with such a tight deadline.

Kristie Winther, B.F.A.
Kristie grew up in Mastic Beach, New York, and attended the Maryland Institute College of Art (MICA), where she received a BFA in Painting. She lives in Baltimore and works as a freelance mural artist, scenic painter, and community artist. Her work is inspired by nature, sensuality, and historic textiles.

Just take a look at the mess she had to transform in the first few photos showing the Christos-Gnosis Alcove. She perfectly recreated it, and see how well she accomplished it in the remaining photos.

Kristie worked so efficiently that she was able to also recreate the Osiris Alcove which can be seen in the before and after in these last two photos.


During the first month of the mural restoration project Ashley Stafford joined us only as a part time supplemental assistant. A month or so into the project we had to hire her full time because without her help we wouldn’t be able to complete the restoration on time. Ashley concentrated on the landing level of the stairwell depicting the end of the Lemurian civilization and the rise of the Atlantean civilization.

Ashley Stafford
Ashley Stafford has lived in the Baltimore area her whole life. She is a self-taught artist, although it certainly helped that she came from a family that places great value in artistic pursuits. She has experience as a painter and illustrator in both traditional and digital media. She started working in the field painting murals with her older brother about eleven years ago. She is currently working as a freelance digital comic book artist and illustrator. In the future, she would like to be able to work full-time on her own mixed-media comic series.

The before photo indicates that every inch of the Atlantis temple, its flooding and coded lettering, needed to be repainted. The following photos show how she mastered all of its elements. Note how much gold and silver were needed and remember, at least three coats of each were needed to do the job. Once she finished the stairwell landing, Ashley put her energies into Noah’s Ark as seen in the last photo.


Andreina Mijares Cisneros is a visiting student from Venezuela who joined our team as a non-paid intern to earn credit for her work as a student art major at Notre Dame of Maryland University. After we saw photographs of her work, we knew she was more than qualified to join our team, but the fact that she wasn’t paid for her time really saved our budget from crashing into the pit. She always brought great joy to the work, with her ever-smiling face and her precise work – she has been a real gem to work with.

Andreina Mijares Cisneros, Studio Art Major
Notre Dame of Maryland University, 2016
Andreina Mijares Cisneros was born in Caracas, Venezuela in 1992. From a young age she moved to Tours, France with her family where she lived for 4 years, and was constantly exposed to European art through her parent’s love for art museums. She then returned to Venezuela where she graduated from High School. It was not until she was accepted into the United World College located in Montezuma, New Mexico that she began her studies in art and developed a passion for painting and drawing. She is currently completing her Bachelors of Art with a concentration in Studio Art at Notre Dame of Maryland University in Baltimore, Maryland.

Andreina tackled the Sphinx and Lemurian wall, and the two “before” photos show what she was up against. Note the enormous amount of gold and silver paint in these sections, and how both required a minimum of three coats of paint.

The following images show how Andreina progressed with this wall showing humanity’s evolution from a hermaphrodite state to the separation of the male/female sexes so very long ago. Andreina’s time and energy were a great support to all of us on this restoration.


The ceiling in the main room of the Apocalypse Mural was nearly covered in gold and silver. Early on we knew this was going to be a greatly tiring task because painting while craning your neck backward with paint dripping into your face grows torturous quickly. We tried rotating each artist to this section to share the pain. Originally in 1969 I did the whole ceiling by myself from a ladder and I remember very well how much paint (oil based back then) that I got in my hair, my eyes, and ears. For this restoration, Johns Hopkins University loaned us a scaffold on wheels that was a great help, but because we had to do a minimum of three coats on almost the entire ceiling it took three times longer than any other location.

None of the artists ever complained about this behemoth part of the task, but I knew we had to hire another artist to focus on the ceiling so the main crew could finish their selected areas. Fortunately for us, Jonathan Gherkin was available and he came highly recommended as someone who was fast, accurate and could take a beating. Jonathan became our “hired gun,” or in baseball terms, our “closer.” What a relief it was when he proved he could take it! It meant we could get the mural finished by our deadline of August 20th.

Jonathan Gherkin
Jonathan Gehrkin was born in New Orleans, Louisiana in 1985. He is a candidate for BFA in Painting at the Maryland Institute College of Art, class of 2017. He is a veteran of the United States Army where he served as a helicopter maintainer from 2006-2012. He currently lives and teaches art in Baltimore, Maryland.

The first photo shows Jonathan getting his paint in proper consistency to begin painting.

The following series of photos show how Jonathan attacked the ceiling from the chair on top of the scaffold, as well as on various ladders and how he had to climb down to the floor again and again to check his progress from a distance.

Notice how the majority of the ceiling is painted in gold and silver, meaning it all had to be painted at least three times over! No doubt, Jonathan’s service in the United States Army prepared him for the discomfort and fortitude needed to complete this job.


The Ceiling in the Main Room

As noted, the greatest drain on our energy, time and budget was the ceiling in the main room, which contains a zodiac, winged-bear carrying a serpent, phoenix, Poseidon riding his sea horses, and the Apocalypse great pyramid. When we arrived to begin painting after the repair crew had fixed the cracks and holes, we were horrified to discover the greater percentage of the celling in the main room was covered in white plaster. It was an enormous shock! The first photo shows Justin Williams surveying the damage and realizing we had an area that needed mega-attention.

The ceiling is painted in about 70% gold and silver and in order to switch to the safer water-based gold and silver, we were forced to use at least three coats of paint to cover it properly. If we’d stuck with the more toxic-oil based paint, we would have been finished weeks ahead of our 8/20/15 deadline, and we would have saved tens of thousands of dollars, and the crew would not be exhausted from working seven days a week. My team wouldn’t give up, however, and dedicated themselves to do the honorable thing. We wanted to prevent the odors that come with oil-based paint that would have permeated the space for months to come, and children use this room as part of the CSI-Tutoring classes. That’s just one of the reasons that my crew were the best team I’ve ever worked with. It was truly a heroic feat, but as the saying goes: “No good deed goes unpunished.”

In order to share the burden of painting the ceiling three times over, each of the artists took turns periodically working from this uncomfortable angle. After a few months we realized we had to hire another artist, Jonathan Gehrkin to give his full attention to the ceiling, and now he goes it alone, so that the rest of our team can tackle the other areas that were left untouched until now.

The heaven world on the ceiling contains the following symbols:

There is still much more work left to complete the ceiling’s story.

Each member of the team gave it their best!

butler-interview-2017.html


Above: Meryl Ann Butler at the Women’s March in Norfolk, Virginia, with a sign she painted the day before.

Secret Life of Lady Liberty Authors
Laura E. Cortner & Dr. Bob Hieronimus
Interviewed for OpEdNews
by Meryl Ann Butler, 11/19/2017

Originally appeared on OpEdNews.

The Secret Life of Lady Liberty: Goddess in the New World by Robert R. Hieronimus, Ph.D., and Laura E. Cortner is a multifaceted tome exploring the missing piece — and missing peace — in American society: the power of the Feminine. Since the last major election cycle, the deadly imbalance in America’s toxic patriarchy has become unmistakable.

The US ranks 104th in women’s representation in government. Women and girls currently make up more than half the population in the US, but they’re represented by a Congress made up of 80 percent men. This isn’t just an issue in terms of equal representation — the proportion of women in government profoundly affects how all of society views women.

—Vox

Annually, four million people are drawn by the iconography of the symbol of the feminine to make the pilgrimage to Liberty Island to pay respects to America’s version of the Great Mother. And what inspires such yearning for the Lady with the torch? Can it be this lack of balance in American society and politics?

November 19, 2017 is the 130th anniversary of the death of Emma Lazarus, who is best known for her sonnet, “The New Colossus,” immortalized in a bronze plaque in the pedestal of the Statue of Liberty. The sonnet was written in 1883 when Lazarus was 34 years old, just four years before her death.

“The New Colossus”

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

Emma Lazarus, 1883

OpEdNews is glad to welcome authors Robert R. Hieronimus, Ph.D., and Laura E. Cortner as our guests.

Robert R. Hieronimus, Ph.D. is an internationally known historian, visual artist, and radio host and has appeared on the History, Discovery, BBC, and National Geographic channels. The host of 21st Century Radio®, he lives in Maryland.

Laura E. Cortner has coauthored previous titles with Robert R. Hieronimus including Founding Fathers, Secret Societies; Inside the Yellow Submarine; and United Symbolism of America. She is the director of the Ruscombe Mansion Community Health Center for holistic services in Maryland.


Meryl Ann Butler: Thanks for visiting with OpEdNews, Laura and Dr. Bob! I really enjoyed your newest book, The Secret Life of Lady Liberty: Goddess in the New World. I was born in NYC, and have many memories of visiting the Statue of Liberty as a child. She has appeared in my artwork many times over the years, most recently as the poster I created to carry in the Women’s March.


Engraving of the Indian Queen entitled ‘America’ by Martin de Vos as engraved by Adriaen Collaert II ca.1595.
(Image by Public domain via wiki)
Permission Details DMCA

I’m so happy to feel her deep importance to this nation beginning to return. One of the most important “vacuums of the feminine” in America has to do with our structure of government. While we based it on the very successful model of the Iroquois Confederacy, what was left out of our Constitution was, in my opinion, the most important aspect of checks and balances. Can you speak about that?

Laura E. Cortner: Thanks Meryl Ann! This is one of our favorite topics and one of the reasons we wrote this book about the Statue of Liberty in the first place.

One of the biggest “secrets” about Lady Liberty that we are referring to in the title of our book is her Native American ancestry. This is evident symbolically and from an art history standpoint when you examine the images of the so-called Indian Queen on the earliest European travel literature of the late 1500s.


Illustrates the Iroquois influence theory, and how closely the U.S. self-governing structure mirrors that established by the League of Iroquois over 500 years earlier. Chart rendered by Amy Ford based on the concept in ‘The Great Law’
(Image by Amy Ford)
Permission Details DMCA

These European artists depicted the new land as a voluptuous, mostly naked, dark-skinned woman — and we can elaborate later, if you like, about how this “Indian Queen” image unconsciously continues to influence our domination paradigm in the United States even today, in terms of environmental stewardship. But what you’re pointing to with your first question is the missing element in the U.S. Constitution: namely, the voice of the Council of the Clan Mothers.

Our founders borrowed heavily from the Native governing structures they observed in their neighboring societies, in particular the League of the Iroquois. And when you compare the two governments side by side, U.S. and Iroquois, you can immediately see the esteemed position in which the Iroquois held their women.

The Council of the Clan Mothers among the Iroquois, or to more correctly name them, the Haudenosaunee, is on par with the U.S. Supreme Court. The wise women made all the most important decisions for their nation. The women determined when to go to war and when to negotiate peace; they were the ones who voted in the chiefs, and they held the power of impeachment; the women owned all the property and retained it in times of divorce, and on and on.

But though John Adams and others acknowledged their indebtedness to the Native Americans for inspiring the American Revolution and providing a framework for their new experiment in self-rule, Adams spoke for many when he voiced his fear of giving too much power to the women.

I’ll let Bob tell you what John Adams said in praise of the Iroquois, but here’s what he said in reply to Abigail Adams when she famously told him to “remember the ladies,” (i.e, women’s rights) when drafting this new declaration of independence they were all talking about. His reply to her was tongue-in-cheek, saying women are already so powerful that the men were at their feet. He joked that if in their declaration of independence from the King that they simultaneously freed the women from the centuries of legal repression that was preventing them from education and employment or even personhood, then they would face what he called the dreaded “petticoat revolution.” In other words, it scared him less to take on the King of England and his mighty army of redcoats and mercenaries than it did to change the laws that continued to suppress women’s equal access to full citizenship.

Dr. Bob Hieronimus: That’s right, and thanks for inviting us to this interview, Meryl Ann. Practically all of the founders we learn about in school wrote at one time or another about their praise for the governing methods of the Indians. John Adams said that the U.S. Constitution was the Americans’ attempt to “set up a government of . . . modern Indians.” That was in his Defence of the Constitutions in 1787.

Thomas Paine wrote, “To understand what the state of society ought to be, it is necessary to have some idea of the natural state of man, such as it is at this day among the Indians of North America. . . . [Poverty was a creation] of what is called civilized life. It exists not in the natural state. . . . The life of an Indian is a continual holiday compared to the poor of Europe.”


The reverse of the Great Seal of the United States
(Image by willc2)
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This respect that our founders felt for the Native Americans is a subject that I always try to bring up whenever I’m being interviewed by the History Channel or the Discovery Channel or the many other shows I’ve done about the “secrets” of the founding fathers.

You know my doctoral dissertation is a humanistic and transpersonal interpretation of the Reverse of the Great Seal, that mysterious eye in the triangle over an unfinished pyramid.

Today, thanks to these many documentaries I’ve appeared on, most Americans THINK they know this symbol means “Illuminati” or “Freemasons” or worse, “Satanic.” That’s why I almost always refuse these interview requests any more. They will cut out the parts when I’m talking about the influence of the League of the Iroquois and how much we owe to them, and they will leave in all the edited bits from my symbolic analysis of the Great Seal or the layout of Washington, DC, that links them however tenuously to the Freemasons. Oftentimes what I say will be skewed into whatever conspiracy theory they are trying to spin for whatever ratings season they are in.

Personally, I find it far more fascinating to focus on the convincing evidence of the influence of the Native Americans on the founding fathers. This research has been collected by dozens of scholars such as Roy Fadden, John Mohawk, Bruce Johansen, Donald Grinde, Oren Lyons and more.


Contemporary image based on oral traditions of how the Ancestors influenced the Founding Fathers.
(Image by By Iroquois artist John Kahionhes Fadden, Director of the Six Nations Museum, NY)
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For crying out loud, the Indians were right there with all the famous men in that hot building in Philadelphia in the pivotal summer of 1776. They were right there! The Second Continental Congress actually invited them to observe their debates over independence and give their feedback.

In May and June of 1776 twenty-one Iroquois sachems camped out in the room above Congress on the second floor, and Secretary of the Congress Charles Thomson, himself an adopted member of the Delaware Indians and whose Indian name translated to “Man Who Tells the Truth,” recorded their visit in detail in the official minutes for the Congress.

MAB: Wow, Bob I never learned that in American History class! That’s enlightening!

BH: Right! But that’s not all. At the end of this observation period, they gave John Hancock, the president of the Congress, an Indian name, Karanduan, or the Great Tree, likening him to their own Great Law of Peace, the central hub around which all their laws radiated.

And you’re absolutely right in terms of what they left out. We believe the main reason that the Iroquois system of the Great Law of Peace survived for hundreds of years (successfully maintaining peace between sovereign nations), and the U.S. system has only marginally succeeded over the past two hundred years (going to war at least once a decade and providing unequal opportunity for health and security of its citizens) is the missing element of the clan system and their value for the power of women.

The Iroquois acknowledged that men and women had different strengths, but considered them equally powerful. In fact, due to their quite different creation stories, they considered women more powerful than men in many ways, and would never dream of attempting any action without their guidance.

MAB: I agree about women being more powerful. As an example, there is a video on social media which shows a couple of men who get hooked up to a labor pain simulator because they want to prove that their wives exaggerated the pain of childbirth. Of course, they begged for mercy as their wives high-fived each other!

And that is only one of the ways in which women are stronger than men. Also, women are typically more apt to want to cooperate and they are less inclined to let testosterone-induced competitiveness push them into war.

In Michael Moore’s film “Where to Invade Next,” he interviewed the women who ran the only Icelandic bank that survived the country’s famous financial collapse. Here’s the clip in which they explain why they believe a women’s bank succeeded:

It seems that a generous application of the feminine perspective can be healthy for humanity. Do you see any ways that we can get back to more of the feminine influences here in the US? Can the archetype of Lady Liberty help us?