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Sometimes in London it drizzles. Sometimes it mizzles. Other times it pelts and showers and spits. And Jonas Hanway hates getting wet. How can he go about his day as a proper London gentleman when his shoes are soggy, his coat is always collecting puddles, and his wig looks like a wet cat? Fed up with damp and dreary London, Jonas sails far away, to places where the sun always shines. But what he sees when he gets there is.... scandalous! Shocking! Sensational! Perhaps also...quite genius? Now all Jonas has to do is convince the rest of London that they need an umbrella, too. All about the real gentleman who introduced umbrellas to 1750’s London society, this is the perfect story of persistence, problem-solving, and how good ideas hold (off) water.
"Controversial, entertaining and alarmingly topical ... a delight to read."Philip Ziegler, Daily Telegraph
How did the penitentiary get its name? Why did the English impose long prison sentences? Did class and economic conflict really lie at the heart of their correctional system? In a groundbreaking study that challenges the assumptions of modern criminal justice scholarship, Laurie Throness answers many questions like these by exposing the deep theological roots of the judicial institutions of eighteenth-century Britain. The book offers a scholarly account of the passage of the Penitentiary Act of 1779, combining meticulous attention to detail with a sweeping theological overview of the century prior to the Act. But it is not just an intellectual history. It tells a fascinating story of a broader religious movement, and the people and beliefs that motivated them to create a new institution. The work is original because it relies so completely on original sources. It is mystical because it mingles heavenly with earthly justice. It is authoritative because of its explanatory power. Its anecdotes and insights, poetry and song, provide intriguing glimpses into another era strangely familiar to our own. Of special interest to social and legal historians, criminologists, and theologians, this work will also appeal to a wider audience of those who are interested in Christianity's impact on Western culture and institutions.
God doesn't bless us to raise our standard of living. God blesses us to raise our standard of giving, and that's where true joy is found. The New York Times bestselling author of Chase the Lion challenges us not to settle for half of what God offers when it comes to blessings—we are BLESSED to BLESS. His discovery started with a simple experiment. Whenever Batterson received a blessing, he would give a similar blessing away. If someone paid him a compliment or gave him a gift or went out of their way to help him, he would return the favor by doing something similar for someone else. We flip the blessing by blessing others in the way God has blessed us. That’s how the blessing becomes a double blessing. It turns giving into a game—one we can’t win because God will always outgive us! It’s an ancient truth found within the Abrahamic covenant: “I will bless you . . . and you will be a blessing.” In other words, we are blessed to bless. The first blessing is receiving, but it doesn’t end there. The second blessing is giving it away! That’s the double blessing. And that’s where double joy is found. In a day and age where the idea of blessing has been reduced to a hashtag (#blessed), Batterson challenges readers to pursue true, God-glorifying blessing and experience an exponential impact by participating in the double blessing. Don’t settle for half of what God offers. Discover how you can both get it and give it . . . in Double Blessing.
The first section of this book follows Blake out of the family haberdashery shop, where his parents tacitly and unwittingly shaped his future as a poet; then into (and out of) the custody of Basire, Moser, and the Medway militia. The book then turns back to the days of Samuel Pepys for the crowning of King Mob, and for the formulation of systems of social control, particularly directed at the young. Gardner traces the exploitation of children (both poor and "the better sort") through the century and Blake's familiar knowledge of the rescue of workhouse children in his parish which he chronicled in Innocence. It was these turbulent decades that fostered Blake's reactions to what he saw in the city around him, and which became the poems and designs in Innocence and Experience. For Blake, "the terrible desart of London" was where the triad of State, Church and Imperial Commerce set the foundations of privilege and oppression. Respite from this for Blake lay among the Surrey hills south of the Thames, and in "organised Innocence". Illustrated with maps, drawings and engravings of the period this part demonstrates how remarkably Blake's vision responded to his times. The second part of this book includes complete facsimiles of two copies of each of fifty-four plates in the Songs set.
When Noot is finally allowed to paint umbrellas like the other women and girls in her village, she secretly hopes that she might be chosen as this year's Umbrella Queen. Carefully, she creates serene flowers and butterflies exactly as she has seen her mother and grandmother do for years. But soon her imagination takes over, and Noot finds herself straying from the old patterns, to the dismay of her family, who depend on the traditionally painted umbrellas for their livelihood. Her parents tell her she must go back to the old designs and Noot obeys, knowing that the King is coming soon to name the one who has painted the most beautiful umbrella. After all, the King would never choose a queen who breaks from tradition . . . would he?