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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.
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.
This inventory of the Church Archives of Virginia, Negro Baptist Churches in Richmond, is the second publication in the church series of the Historical Records Survey of Virginia. It is based, as far as possible, on primary sources. These sources have been supplemented by statements made to our researchers by officers and members of the churches, whose archives were surveyed, and by officers of the associations to which the churches belong. -- Preface.
On the day after Christmas in 1811, the state of Virginia lost its governor and almost one hundred citizens in a devastating nighttime fire that consumed a Richmond playhouse. During the second act of a melodramatic tale of bandits, ghosts, and murder, a small fire kindled behind the backdrop. Within minutes, it raced to the ceiling timbers and enveloped the audience in flames. The tragic Richmond Theater fire would inspire a national commemoration and become its generation's defining disaster. A vibrant and bustling city, Richmond was synonymous with horse races, gambling, and frivolity. The gruesome fire amplified the capital's reputation for vice and led to an upsurge in antitheater criticism that spread throughout the country and across the Atlantic. Clerics in both America and abroad urged national repentance and denounced the stage, a sentiment that nearly destroyed theatrical entertainment in Richmond for decades. Local churches, by contrast, experienced a rise in attendance and became increasingly evangelical. In The Richmond Theater Fire, the first book about the event and its aftermath, Meredith Henne Baker explores a forgotten catastrophe and its wide societal impact. The story of transformation comes alive through survivor accounts of slaves, actresses, ministers, and statesmen. Investigating private letters, diaries, and sermons, among other rare or unpublished documents, Baker views the event and its outcomes through the fascinating lenses of early nineteenth-century theater, architecture, and faith, and reveals a rich and vital untold story from America's past.
RICHMOND WAS NOT only the capital of Virginia and of the Confederacy; it was also one of the most industrialized cities south of the Mason-Dixon Line. Boasting ironworks, tobacco processing plants, and flour mills, the city by 1860 drew half of its male workforce from the local slave population. Rearing Wolves to Our Own Destruction examines this unusual urban labor system from 1782 until the end of the Civil War. Many urban bondsmen and women were hired to businesses rather than working directly for their owners. As a result, they frequently had the opportunity to negotiate their own contracts, to live alone, and to keep a portion of their wages in cash. Working conditions in industrial Richmond enabled African-American men and women to build a community organized around family networks, black churches, segregated neighborhoods, secret societies, and aid organizations. Through these institutions, Takagi demonstrates, slaves were able to educate themselves and to develop their political awareness. They also came to expect a degree of control over their labor and lives. Richmond's urban slave system offered blacks a level of economic and emotional support not usually available to plantation slaves. Rearing Wolves to Our Own Destruction offers a valuable portrait of urban slavery in an individual city that raises questions about the adaptability of slavery as an institution to an urban setting and, more importantly, the ways in which slaves were able to turn urban working conditions to their own advantage.