Horae Apocalypticae is a commentary on the apocalypse, critical and historical; including also an examination of the chief prophecies of Daniel. It is doubtless the most elaborate work ever produced on the Apocalypse. Editors Note, 2018 Quin. Ed. E. B Elliot finished his great work about the year 1860. The nature of the Historicist method of interpretation is such that the line of fulfilled prophecy is continually moving with the passage of time. The interpretation of which necessarily requires a certain amount of speculation which must be verified before accepted as true. As well intentioned as many are the passage of time will overthrow the best of expositors on some points of which time would reveal to be mere speculation. Though the bulk of Mr. Elliot's work still stands the test of time, time has unveiled a more likely or true interpretation on some points. The editors herein have made some updates commensurate.
A book of heroic dimensions, this is the first full-length biography of one of the greatest artists of the twentieth century—a man as fascinating, difficult, and compelling as the paintings he produced. Drawing on exclusive access to Mark Rothko's personal papers and over one hundred interviews with artists, patrons, and dealers, James Breslin tells the story of a life in art—the personal costs and professional triumphs, the convergence of genius and ego, the clash of culture and commerce. Breslin offers us not only an enticing look at Rothko as a person, but delivers a lush, in-depth portrait of the New York art scene of the 1930s, ’40s, and ’50s—the world of Abstract Expressionism, of Pollock, Rothko, de Kooning, and Klein, which would influence artists for generations to come. "In Breslin, Rothko has the ideal biographer—thorough but never tedious, a good storyteller with an ear for the spoken word, fond but not fawning, and possessed of a most rare ability to comment on non-representational art without sounding preposterous."—Robert Kiely, Boston Book Review "Breslin impressively recreates Mark Rothko's troubled nature, his tormented life, and his disturbing canvases. . . . The artist's paintings become almost tangible within Breslin's pages, and Rothko himself emerges as an alarming physical force."—Robert Warde, Hungry Mind Review "This remains beyond question the finest biography so far devoted to an artist of the New York School."-Arthur C. Danto, Boston Sunday Globe "Clearly written, full of intelligent insights, and thorough."—Hayden Herrera, Art in America "Breslin spent seven years working on this book, and he has definitely done his homework."-Nancy M. Barnes, Boston Phoenix "He's made the tragedy of his subject's life the more poignant."—Eric Gibson, The New Criterion "Mr. Breslin's book is, in my opinion, the best life of an American painter that has yet been written . . . a biographical classic. It is painstakingly researched, fluently written and unfailingly intelligent in tracing the tragic course of its subject's tormented character."—Hilton Kramer, New York Times Book Review, front page review James E. B. Breslin (1936-1996) was professor of English at the University of California, Berkeley, and author of From Modern to Contemporary: American Poetry, 1945-1965 and William Carlos Williams: An American Artist.
The Last Prophecy" was the abridged version authorized by E. B. Elliot himself. The editors of this revised version humbly admit the primary credit to E. B. Elliot and those who went before us in this great work. With great trepidation we have sought to bring up to date the last several chapters hereof with the same method of which we hope Mr. Elliot would approve were he present. You will come away with a fresh and very compelling view of the Book of Revelation and an overview of the greater work from which the text is derived. "Horae Apocalypticae" (Hours with the Apocalypse) is doubtless the most elaborate work ever produced on the Apocalypse. Without an equal in exhaustive research in its field, it was occasioned by the futurist attack on the Historical School of interpretation. Begun in 1837, its 2,500 pages were buttressed by some 10,000 invaluable references to ancient and modern works.
Confessions is generally considered one of Augustine's most important texts. It is widely seen as the first Western autobiography ever written, and was an influential model for Christian writers throughout the Middle Ages. Professor Henry Chadwick wrote that Confessions will "always rank among the great masterpieces of western literature.
Edward Bouverie Pusey (1800-1882), was an English churchman and Regius Professor of Hebrew at Christ Church, Oxford. He was one of the leaders of the Oxford Movement. The movement, in the actual origination of which he had had no share, came to bear his name: it was popularly known as Puseyism and its adherents as Puseyites. His activity, both public and private, as leader of the movement was enormous. He was not only on the stage but also behind the scenes of every important controversy, whether theological or academic. In the Gorham controversy of 1850, in the question of Oxford reform in 1854, in the prosecution of some of the writers of Essays and Reviews, especially of Benjamin Jowett, in 1863, in the question as to the reform of the marriage laws from 1849 to the end of his life, in the Farrar controversy as to the meaning of everlasting punishment in 1877, he was always busy with articles, letters, treatises and sermons.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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