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William Penn Primitive Christianity Revived
William Penn Primitive Christianity Revived

This book is a combination of two separate publications by William Penn, one being his book Primitive Christianity Revived (first published in 1696), and the other, A Brief Account of the Rise and Progress of the People Called Quakers, which originally served as the introduction to the Journal of George Fox (published in 1694) but was later printed separately. The two publications overlapped in their scope, both dealing (in various degrees) with the rise of the Society of Friends, and the distinct principles and practices of this people, and it was thought that these short books could be combined and interwoven in such a way as to present the reader with a more thorough presentation of these subjects than either publication could do individually. In attempting to do this, I have taken a degree of editorial liberty-removing repetition, adding short segues between sections, and moving paragraphs around to where they seemed to fit best. I have also attempted to carefully and conscientiously modernize and sometimes re-word Penn's archaic (albeit beautiful) language, adding an occasional Scripture reference or a phrase of my own with the aim of greater clarity. My objective was not simply to republish the works of William Penn; all of his original publications still exist and are available through many online sources. My goal was to present the present-day seeker of truth with a readable and heart-impacting account of what God did in the early Society of Friends, which is the same that He desires to do in the hearts and lives of every modern Christian.

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Seneca How To Live A Happy Life
Seneca How To Live A Happy Life

You and I will agree, I think, that outward things are sought for the satisfaction of the body, that the body is cherished out of regard for the soul, and that in the soul there are certain parts which minister to us, enabling us to move and to sustain life, bestowed upon us just for the sake of the primary part of us. In this primary part there is something irrational, and something rational. The former obeys the latter, while the latter is the only thing that is not referred back to another, but rather refers all things to itself. For the divine reason also is set in supreme command over all things, and is itself subject to none; and even this reason which we possess is the same, because it is derived from the divine reason. 2. Now if we are agreed on this point, it is natural that we shall be agreed on the following also - namely, that the happy life depends upon this and this alone: our attainment of perfect reason. For it is naught but this that keeps the soul from being bowed down, that stands its ground against Fortune; whatever the condition of their affairs may be, it keeps men untroubled. And that alone is a good which is never subject to impairment. That man, I declare, is happy whom nothing makes less strong than he is; he keeps to the heights, leaning upon none but himself; for one who sustains himself by any prop may fall. If the case is otherwise, then things which do not pertain to us will begin to have great influence over us. But who desires Fortune to have the upper hand, or what sensible man prides himself upon that which is not his own?

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George B. Bridgman Heads, Features And Faces
George B. Bridgman Heads, Features And Faces

Certainly one of the most difficult, often neglected areas of art study is the correct rendering of heads, features, and faces. This volume, prepared by an expert in the field, is devoted exclusively to just that. With its clear, concise text, its almost 200 excellent illustrations, and its overall life-drawing approach, the book provides valuable guidelines on how best to portray faces, features, and heads. There is probably no better instructor to turn to than George B. Bridgman. He brings to the subject both his expertise as an artist and his fifty years' experience as lecturer and teacher at the Art Students League of New York. Throughout the book, he places as much emphasis on perspective and planes as on anatomy. In this way, you'll develop a more precise understanding of each feature, the head and face in general, the relationship between features, and the relationship between a specific feature and the face or head. Mr. Bridgman's consideration of the head includes such topics as the head at eye level and below eye level; planes of the head; and round and square forms. Four features -- eye, nose, mouth, ear -- are dealt with in detail. Sections on light and shade, comparative measurements, and principles of cube and oval construction further enhance the scope of the book. The finely executed drawings complement the textual material, illustrating all important concepts. Of special value is the author's inclusion of the work of famous portrait artists. Vermeer, Hals, Rembrandt, Reynolds, Louise Elisabeth LeBrun -- these are the people who made portraiture a master art; and you'll be able to study, up close and at your leisure, the qualities that let their work achieve the status it did.

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