The covenant of redemption (pactum salutis), the eternal intra-trinitarian covenant, was a common staple within Early Modern Reformed theology, yet there are very few historical works that examine this doctrine. J. V. Fesko's study, The Covenant of Redemption: Origins, Development, and Reception, seeks to address this lacuna.In the contemporary period the covenant of redemption has been derided as speculative, mythological, a declension from trinitarianism, or erroneously derived from one or two biblical proof-texts. Yet seldom have critics carefully engaged the primary sources to examine the different formulations, supporting exegesis, and ways in which the doctrine was employed.Far from speculation, sub-trinitarian, or a cold business transaction, proponents of the covenant of redemption constructed this doctrine based upon a web of interconnected biblical texts and were very sensitive to maintaining a robust doctrine of the trinity, as they employed this doctrine as a bulwark against the anti-trinitarian claims of Socinian theologians. Proponents of the doctrine also saw this pre-temporal covenant as the embodiment of intra-trinitarian love that overflows unto those chosen in Christ for their salvation and ultimate fellowship with the triune God.John V. Fesko explores the historical origins of the doctrine and then surveys its development in the seventeenth- through nineteenth-centuries, examining key advocates of the doctrine including, David Dickson, Herman Witsius, Johannes Cocceius, Francis Turretin, Patrick Gillespie, John Gill, Jonathan Edwards, Charles Hodge, and A. A. Hodge. He then examines the contemporary reception of the doctrine in the twentieth century with a survey of the doctrine's critics, including Karl Barth, Herman Hoeksema, Klaas Schilder, and John Murray. After exploring the claims of the critics, the study moves to examine the views of twentieth-century proponents, including Geerhardus Vos, Herman Bavinck, Abraham Kuyper, Louis Berkhof, and G. C. Berkouwer.
Looks at painting and sculpture throughout history to examine the role and presentation of the horse in ancient, Oriental, medieval, Renaissance, Baroque, and modern art.
Photography emerged in 1839 in two forms simultaneously. In France, Louis Daguerre produced photographs on silvered sheets of copper, while in Great Britain, William Henry Fox Talbot put forward a method of capturing an image on ordinary writing paper treated with chemicals. Talbot’s invention, a paper negative from which any number of positive prints could be made, became the progenitor of virtually all photography carried out before the digital age. Talbot named his perfected invention "calotype," a term based on the Greek word for beauty. Calotypes were characterized by a capacity for subtle tonal distinctions, massing of light and shadow, and softness of detail. In the 1840s, amateur photographers in Britain responded with enthusiasm to the challenges posed by the new medium. Their subjects were wide-ranging, including landscapes and nature studies, architecture, and portraits. Glass-negative photography, which appeared in 1851, was based on the same principles as the paper negative but yielded a sharper picture, and quickly gained popularity. Despite the rise of glass negatives in commercial photography, many gentlemen of leisure and learning continued to use paper negatives into the 1850s and 1860s. These amateurs did not seek the widespread distribution and international reputation pursued by their commercial counterparts, nearly all of whom favored glass negatives. As a result, many of these calotype works were produced in a small number of prints for friends and fellow photographers or for a family album. This richly illustrated, landmark publication tells the first full history of the calotype, embedding it in the context of Britain’s changing fortunes, intricate class structure, ever-growing industrialization, and the new spirit under Queen Victoria. Of the 118 early photographs presented here in meticulously printed plates, many have never before been published or exhibited.
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