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Contents: Napoli: Barcarolle, Nocturne, Caprice Italien Caprice in C (D'apres le final du Bal masque) Intermede in D Minor Valse-Improvisatio...

In some ways, they could not be more different: the pipe-smoking, Anglican Oxford don and the blue-collar scion of conservative Presbyterianism. But C. S. Lewis and Francis Schaeffer, each in his unique way, fashioned Christian apologetics that influenced millions in their lifetimes. And the work of each continues to be read and studied today. In this book Scott Burson and Jerry Walls compare and contrast for the first time the thought of Lewis and Schaeffer. With great respect for the legacy of each man, but with critical insight as well, they suggest strengths and weaknesses of their apologetics. All the while they consider what Lewis and Schaeffer still have to offer in light of postmodernism and other cultural currents that, since their deaths, have changed the apologetic landscape. This incisive book stands as both an excellent introduction to the work of these two important figures and a fresh proposal for apologetics at the dawn of a new century.

This West Pointer from Indiana served brilliantly under 11 Confederate commanding generals. Shoup later became an Episcopal minister, teaching at the University of the South at Sewanee, Tennessee.

Originally untrained in military science, Francis Channing Barlow ended the Civil War as one of the North's premier combat generals. He played decisive roles in historic campaigns throughout the War and his letters are classic accounts of courage combat, and the burdens of command as experienced by one of the Union's fiercest officers.Born in Brooklyn, New York, Barlow enlisted in April 1861 at the age of twenty six, commanded the 61st New York Infantry regiment by April 1862, and found himself a general in command of a division by 1863. He played a key role at Fair Oaks, Antietam, the Wilderness, Spotsylvania, and Petersburg, suffered two serious wounds in combat, and was left for dead at Gettysburg, where part of the battlefield is named after him. Barlow's war correspondence not only provides a rich description of his experiences in these actions but also offers insight into a civilian learning the realities of war.As a young intellectual, Barlow was also well connected with many eminent figures of his time. He spent part of his youth at Brook Farm, graduated first in his Harvard College class, and became a successful New York City lawyer by the time he enlisted. Among his friends he counted Ralph Waldo Emerson, Charles Russell Lowell, Jr., and Winslow Homer's family. Transformed by his experiences in the War, Barlow entered politics and served as New York's Secretary of State and Attorney General. Superbly edited by Christian G. Samito, Barlow's letters not only illuminate the life of a talented battlefield commander; they also fill a gap in Civil War scholarship by providing a valuable window into Northern intellectual responses to the War.

This is the first biography of the important but long-forgotten American inventor Charles Francis Jenkins (1867-1934). Historian Donald G. Godfrey documents the life of Jenkins from his childhood in Indiana and early life in the West to his work as a prolific inventor whose productivity was cut short by an early death. Jenkins was an inventor who made a difference. As one of America's greatest independent inventors, Jenkins's passion was to meet the needs of his day and the future. In 1895 he produced the first film projector able to show a motion picture on a large screen, coincidentally igniting the first film boycott among his Quaker viewers when the film he screened showed a woman's ankle. Jenkins produced the first American television pictures in 1923, and developed the only fully operating broadcast television station in Washington, D.C. transmitting to ham operators from coast to coast as well as programming for his local audience. Godfrey's biography raises the profile of C. Francis Jenkins from his former place in the footnotes to his rightful position as a true pioneer of today's film and television. Along the way, it provides a window into the earliest days of both motion pictures and television as well as the now-vanished world of the independent inventor.

Originally untrained in military science, Francis Channing Barlow ended the Civil War as one of the North's premier combat generals. He played decisive roles in historic campaigns throughout the War and his letters are classic accounts of courage combat, and the burdens of command as experienced by one of the Union's fiercest officers.Born in Brooklyn, New York, Barlow enlisted in April 1861 at the age of twenty six, commanded the 61st New York Infantry regiment by April 1862, and found himself a general in command of a division by 1863. He played a key role at Fair Oaks, Antietam, the Wilderness, Spotsylvania, and Petersburg, suffered two serious wounds in combat, and was left for dead at Gettysburg, where part of the battlefield is named after him. Barlow's war correspondence not only provides a rich description of his experiences in these actions but also offers insight into a civilian learning the realities of war.As a young intellectual, Barlow was also well connected with many eminent figures of his time. He spent part of his youth at Brook Farm, graduated first in his Harvard College class, and became a successful New York City lawyer by the time he enlisted. Among his friends he counted Ralph Waldo Emerson, Charles Russell Lowell, Jr., and Winslow Homer's family. Transformed by his experiences in the War, Barlow entered politics and served as New York's Secretary of State and Attorney General. Superbly edited by Christian G. Samito, Barlow's letters not only illuminate the life of a talented battlefield commander; they also fill a gap in Civil War scholarship by providing a valuable window into Northern intellectual responses to the War.

This is the first biography of the important but long-forgotten American inventor Charles Francis Jenkins (1867-1934). Historian Donald G. Godfrey documents the life of Jenkins from his childhood in Indiana and early life in the West to his work as a prolific inventor whose productivity was cut short by an early death. Jenkins was an inventor who made a difference. As one of America's greatest independent inventors, Jenkins's passion was to meet the needs of his day and the future. In 1895 he produced the first film projector able to show a motion picture on a large screen, coincidentally igniting the first film boycott among his Quaker viewers when the film he screened showed a woman's ankle. Jenkins produced the first American television pictures in 1923, and developed the only fully operating broadcast television station in Washington, D.C. transmitting to ham operators from coast to coast as well as programming for his local audience. Godfrey's biography raises the profile of C. Francis Jenkins from his former place in the footnotes to his rightful position as a true pioneer of today's film and television. Along the way, it provides a window into the earliest days of both motion pictures and television as well as the now-vanished world of the independent inventor.

Es increíble como una simple mujer judía ha capturado la imaginación y el amor de los que han seguido a Jesús desde el principio del cristianismo. Incorporando oraciones tradicionales y contemporáneas, este panfleto le ayudará a profundizar sus momentos de oración con la madre de nuestro Señor. Diseñado para uso diario durante treinta días, cada oración le dará la oportunidad de pedirle a la Virgen María que interceda por usted.

Whitney, C.: Francis Bacon and Modernity. London, 1986, X 234 P. Encuadernacion Original. Nuevo.

Captain Gray's voyages of discovery 17887-1793. Short biography of Gray: Robert Gray (May 10, 1755 - c. July, 1806) was an American merchant sea-captain who is known for his achievements in connection with two trading voyages to the northern Pacific coast of North America, between 1790 and 1793, which pioneered the American maritime fur trade in that region. In the course of those voyages, Gray explored portions of that coast and, in 1790, completed the first American circumnavigation of the world. Perhaps his most remembered accomplishment from his explorations was his coming upon and then naming of the Columbia River, in 1792 while on his second voyage.

«Pitié pour la viande! Il n''y a pas de doute, la viande est l''objet le plus haut de la pitié de Bacon, son seul objet de pitié, sa pitié d''Anglo-Irlandais. Et sur ce point, c''est comme pour Soutine, avec son immense pitié de Juif. La viande n''est pas une chair morte, elle a gardé toutes les souffrances et pris sur soi toutes les couleurs de la chair vive. Tant de douleur convulsive et de vulnérabilité, mais aussi d''invention charmante, de couleur et d''acrobatie. Bacon ne dit pas «pitié pour les bêtes » mais plutôt tout homme qui souffre est de la viande. La viande est la zone commune de l''homme et de la bête, leur zone d''indiscernabilité, elle est ce «fait», cet état même où le peintre s''identifie aux objets de son horreur ou de sa compassion. Le peintre est boucher certes, mais il est dans cette boucherie comme dans une église, avec la viande pour Crucifié (« peinture » de 1946). C''est seulement dans les boucheries que Bacon est un peintre religieux. » G. D.

Giovanni Bellini’s St. Francis in the Desert (c. 1476 78) is a masterpiece of Venetian Renaissance art that has inspired generations of visitors to The Frick Collection. This monumental panel painting portrays the beloved Christian saint alone in a mountainous wilderness, stepping forward from his simple shelter into a golden light that seems to transfigure him spiritually. For centuries, viewers have puzzled over the work’s meaning; until recently, however, the artist’s practical conception and realization of this extraordinary vision have remained largely unexplored.In a New Light presents the collective findings of an unprecedented technical examination of St. Francis in the Desert. The recent discoveries provide a glimpse over Bellini’s shoulder” and open new avenues of research into Venetian Renaissance painting and its cultural and religious context. A richly illustrated monograph of a single picture, In a New Light comprises essays by leading experts in the fields of paintings conservation, Venetian art, the history of collecting, and Franciscan thought.

«Pitié pour la viande! Il n''y a pas de doute, la viande est l''objet le plus haut de la pitié de Bacon, son seul objet de pitié, sa pitié d''Anglo-Irlandais. Et sur ce point, c''est comme pour Soutine, avec son immense pitié de Juif. La viande n''est pas une chair morte, elle a gardé toutes les souffrances et pris sur soi toutes les couleurs de la chair vive. Tant de douleur convulsive et de vulnérabilité, mais aussi d''invention charmante, de couleur et d''acrobatie. Bacon ne dit pas «pitié pour les bêtes » mais plutôt tout homme qui souffre est de la viande. La viande est la zone commune de l''homme et de la bête, leur zone d''indiscernabilité, elle est ce «fait», cet état même où le peintre s''identifie aux objets de son horreur ou de sa compassion. Le peintre est boucher certes, mais il est dans cette boucherie comme dans une église, avec la viande pour Crucifié (« peinture » de 1946). C''est seulement dans les boucheries que Bacon est un peintre religieux. » G. D.

«Pitié pour la viande! Il n''y a pas de doute, la viande est l''objet le plus haut de la pitié de Bacon, son seul objet de pitié, sa pitié d''Anglo-Irlandais. Et sur ce point, c''est comme pour Soutine, avec son immense pitié de Juif. La viande n''est pas une chair morte, elle a gardé toutes les souffrances et pris sur soi toutes les couleurs de la chair vive. Tant de douleur convulsive et de vulnérabilité, mais aussi d''invention charmante, de couleur et d''acrobatie. Bacon ne dit pas «pitié pour les bêtes » mais plutôt tout homme qui souffre est de la viande. La viande est la zone commune de l''homme et de la bête, leur zone d''indiscernabilité, elle est ce «fait», cet état même où le peintre s''identifie aux objets de son horreur ou de sa compassion. Le peintre est boucher certes, mais il est dans cette boucherie comme dans une église, avec la viande pour Crucifié (« peinture » de 1946). C''est seulement dans les boucheries que Bacon est un peintre religieux. » G. D.

Francis (c. 1182-1226), "The Little Poor Man" of Assisi, and Clare (c.1193-1254), "The Clear One," the woman who lived out his vision with heroic simplicity, together shaped the spirituality of early thirteenth-century Europe. Each gathered communities of like-minded persons to live out a radical commitment to the Gospel message of poverty and in the process left a legacy that has captured the imagination of both believer and nonbeliever throughout the ages. Here for the first time in English the complete writings of both Francis and Clare have been brought together in one volume. The book represents the first English translation based on the critical texts of the writings of Francis assembled by Kajetan Esser in his 1976 Opuscula des Heiligen Franziskus von Assisi, and the critical texts of Clare's writings done by Ignatio Omaechevarria. Writing in the preface to this volume, John Vaughn, Minister General of the Friars minor, sums up the relevance of Francis's and Clare's vision for today: "[It] Calls us to revitalizes our lives and those of others, and indeed to renew the very life of the Church in these times of crisis."

Charles Francis Annesley Voysey, 1857-1941, had an immense reputation in the 1890s and early years of this century. His houses, his furniture and his textiles were greatly admired and widely imitated. But with the outbreak of World War I his architectural career came to an end. He eked out a rather precarious existence, designing textiles and wallpapers, as he faded from the public's memory. In the 1930s Voysey was rediscovered by John Betjeman, the architect writer Raymond McGrath and Nicholas Peusner, McGrath and Peusner treated Voysey as if he was a modern, born before his time. He was nothing of the sort; he was a great 19th-century architect, the greatest Victorian domestic architect. Voysey emerged as an architect with a distinctive style in the 1890s. His work was widely publicised in avant garde periodicals like "The Studio" as well as in Continental journals. Intellectuals quickly seized upon the idea of the Voysey House, H.G. Wells commissioned a Voysey House. Other Voysey clients included well known writers, publishers and artists. Voysey, unlike many architects of his day, still has much to teach us. His architecture is gentle, eminently civilized, but never dull or timid. His houses were built of simple materials, they related perfectly to sites. Voysey, as an architect, was a green.

First published in 1990. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

158 Pages, Index, Includes Appendix "the Wartime Letters of Francis Phillip Fleming", Roster, Brand New Hardcover Reprint of the 1884 Edition. Never Read!

First published in 1989. Routledge is an imprint of Taylor & Francis, an informa company.