As pastor of Washington's historic New York Avenue Presbyterian Church, Peter Marshall, former U.S. Senate chaplain, spoke with sharp wit, sparkling imagery of words, and passionate zeal. Contained here are selected messages from his books, sermons and prayers.
In The One Year Book of Personal Prayer, you will find a chorus of prayers to God from people past and present. With uplifting words and thoughts, their prayers will serve as a gateway to your own conversations with God.
The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this fascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public. Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medieval modernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and other nineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design. This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work of Frank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers? In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history.
With a foreword by President Barack Obama, the twelfth volume in the Naval History and Heritage Command’s Naval Documents of the American Revolution series tells the story of the Revolutionary War on the water during the period of April to June 1778. In the tradition of the preceding volumes—the first of which was published in 1964—this work synthesizes edited documents, including correspondence, ship logs, muster rolls, orders, and newspaper accounts, that provide a comprehensive understanding of the war at sea in the spring of 1778. The editors organize this wide array of texts chronologically by theater and incorporate French, Italian, and Spanish transcriptions with English translations throughout. Volume 12 presents the essential primary sources on a crucial time in the young republic’s naval history—as the British consolidate their strength in the Mid-Atlantic, and the Americans threaten British shipping in European waters and gain a powerful ally as France prepares to enter the war.
The present St Paul's Cathedral, Christopher Wren's masterpiece, is the fourth religious building to occupy the site. Its location in the heart of the capital reflects its importance in the English church while the photographs of it burning during the Blitz forms one of the most powerful and familiar images of London during recent times. This substantial and richly illustrated study, published to mark the 1,400th anniversary of St Paul's, presents 42 scholarly contributions which approach the cathedral from a range of perspectives. All are supported by photographs, illustrations and plans of the exterior and interior of St Paul's, both past and present. Eight essays discuss the history of St Paul's, demonstrating the role of the cathedral in the formation of England's church and state from the 7th century onwards; nine essays examine the organisation and function of the cathedral during the Middle Ages, looking at, for example, the arrangement of the precinct, the tombs, the Dean's household during the 15th century, the liturgy and the archaeology. The remaining papers examine many aspects of Wren's cathedral, including its construction, fittings and embellishments, its estates and income, music and rituals, its place in London, its library, its role in the book trade and its reputation.
John Holt (1841-1915) was a successful British merchant who made several voyages to West Africa during his lifetime to establish business and trade in the era of British Imperialism. His diaries are presented in two accounts; the first, from 1862-1872, documents his life as a merchant on the West African island of Fernando Po, initially working for James Lynslager and eventually purchasing the trade company and expanding it significantly. Holt's own vessel, Maria, and his affiliation with the African Steam Ship Company, made his maritime trade activities particularly succssful. The second account records his voyage in the Maria from Liverpool to Fernando Po in 1869-1872, and documents his trade relationships across West Africa. The volume is rounded out by diary entries from the ten-day voyage of the Peep O'Day along the Krou coast, and concludes with John Holt's family tree. This volume presents a comprehensive account of Holt's life as a means of preserving history and adding to the field of study of mercantile livliehoods and shipping trade industries under British imperialism. It also seeks to celebrate the individual accomplishments made in John Holt's career.
In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark's influential War Artists' Advisory Committee and explores topics ranging from censorship to artists' finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.
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