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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.
The Civil War has ended when Yankee Captain Dennis Wainwright and Confederate Sergeant Gage Kennon cross paths. Forming an unlikely alliance, their travels become very interesting when they stumble across a band of Gypsies. Gage saves an older Gypsy woman from a terrible accident, earning the respect, but not the friendship, of her granddaughter Nadyha. Later Gage finds himself in the unlikely position of saving an innocent young woman from being arrested and possibly hanged. These unlikely people seem bound together mysteriously by unaccountable forces; but always Gage Kennon, a humble and devout Christian man, is at the center of the turns and twists their lives take. The road soon leads them to a grand showboat, the Queen of Bohemia, and exciting journeys on the Mississippi River. The River Palace is based on a very old story, that of the Good Samaritan, but it is also a new story of faith, romance, and classic adventure from beloved Christian author Gilbert Morris.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 edition. Excerpt: ... CHAPTER XIII. MEDICAL CINCINNATI. THE PIONEER PHYSICIAN AND THE HARDSHIPS HE ENDURED FIRST KNOWN DISCIPLE OF ESCULAPIUS A SURVEYOR KILLED BY THE INDIANS'--DR. DRAKE THE MOST NOTED PIONEER WHO WRITES OF HIS TIME ENTERTAININGLY MEDICAL COLLEGES LIBRARIES SOCIETIES HOSPITALS. BY A. G. DRURY, A. Mv M. D. FORE-WORD. The medical history of Cincinnati for the first thirty years of the city's existence is that of individuals only, no records have been found of any organizations prior to 1818. Thanks for material assistance are tendered to the officers and staffs of the various hospitals, the authorities of the medical colleges, the editors of the medical journals, and to the librarians and assistants of the libraries. The zvorks consulted have been: --"Drake's Discourses." Mansfield's "Life of Daniel Drake," Ford's History of Cincinnati, Grove's Centennial History of Cincinnati. From "Daniel Drake and His Folloivers," by Otto Juettner, M. D., I Itave quoted literally and liberally. The 28th day of December, 1788, is generally conceded to be the date of the first settlement of Cincinnati. On that day Israel Ludlow, with about thirty companions landed at what is now the foot of Sycamore street, then known as Yeatman's Cove. Here they built three or four cabins. The present site of Cincinnati had been visited by John Cleves Symmes, Col. Robert Patterson, Matthias Denman, and John Filson, in September, 1788. Denman decided to lay out a town at this point. John Filson, who was a surveyor, schoolmaster, and historian, gave to the place the name "Losantiville." During this expedition Filson suddenly disappeared, and, it is believed, was killed by the Indians. He had been a student of medicine for more than a year, and was looking hopefully into the...
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.
For two centuries, nearly all historical accounts of American theatre have focused on New York, Boston, and Philadelphia. As a result, the story of theatre on the frontier consists primarily of regional studies with limited scope. Thomas A. Bogar’s Theatre on the American Frontier provides an overdue, balanced treatment of the accomplishments of the troupes working in the trans-Appalachian West. From its origins in late eighteenth-century Pittsburgh, New Orleans, and Louisville, frontier theatre grew by the close of the nineteenth century to encompass more than a dozen centers of vibrant theatrical activity. Audiences—mainly pioneers struggling with the hardships of establishing a life in the backcountry—enjoyed thrilling melodramas, the comedies of George Colman the Younger and John O’Keeffe, and even the tragedies of William Shakespeare. Theatre companies that ventured into this challenging and unfamiliar territory did so with a combination of daring and determination. Bogar’s comprehensive study brings this neglected history into the spotlight, cementing these figures and their theatrical productions and practices in their rightful place.
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.
Defying social and family expectations, the wealthy, often eccentric Alice Pike Barney (1857-1931) zestfully committed herself to the arts and became known for her lively art salons, bohemian lifestyle, and unusual family.