Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Dr. Bob of Alcoholics Anonymous
A.A. Co-founder Dr. Bob stated he had had "excellent training" in the Bible as a youngster in St. Johnsbury, Vermont. This title is a guide to that training and to the multi-volume resource compendium that describes the major influences on his training. They include the Town of St. Johnsbury, the Congregational Churches, his own church--the North Congregational Church, Sunday School, Christian Endeavor Society, the enormous impact of the Fairbanks family on the community and church and educational system, Dr. Bob's own deep family involvement in the church and town activities, the St. Johnsbury Academy, the town library (Athenaeum) and Fairbanks Museum, the YMCA, and the Great Awakening of 1875 that brought revivals, Gospel meetings, conversions, prayer, and Bible study to the fore.
Men of Vermont
None
The Beta Theta Pi
None
Catalogue
None
Two Vermonts
Two Vermonts establishes a little-known fact about Vermont: that the state's fascination with tourism as a savior for a suffering economy is more than a century old, and that this interest in tourism has always been dogged by controversy. Through this lens, the book is poised to take its place as the standard work on Vermont in the Gilded Age and the Progressive Era. Searls examines the origins of Vermont's contemporary identity and some reasons why that identity ("Who is a Vermonter?") is to this day so hotly contested. Searls divides nineteenth-century Vermonters into conceptually "uphill," or rural/parochial, and "downhill," or urban/cosmopolitan, elements. These two groups, he says, nego...
Painting in Stone
A sweeping history of premodern architecture told through the material of stone Spanning almost five millennia, Painting in Stone tells a new history of premodern architecture through the material of precious stone. Lavishly illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia revival in 19th-century England. Poetry, the lens for understanding costly marbles as an artistic medium, summoned a spectrum of imaginative associations and responses, from princes and patriarchs to the populace. Three salient themes sustained this “lithic imagination”: marbles as images of their own elemental substance according to premodern concepts of matter and geology; the perceived indwelling of astral light in earthly stones; and the enduring belief that colored marbles exhibited a form of natural—or divine—painting, thanks to their vivacious veining, rainbow palette, and chance images.
