Alexander Gardner is best known for his innovative photographic history of the Civil War; what is less known is the extent to which he was involved in the international worker's rights movement. Tying Gardner's photographic storytelling to his transatlantic reform activities, this book expands our understanding of Gardner's career and the work of his studio in Washington, D.C. by situating his photographic production within the era's discourse on social and political reform. Drawing on previously unknown primary sources and original close readings, Makeda D. Best reveals how Gardner's activism in Scotland and photography in the United States shared an ideological foundation. She reads his Photographic Sketchbook of the War as a politically motivated project, rooted in Gardner's Chartist and Owenite beliefs, and illuminates how its treatment of slavery is primarily concerned with the harm that the institution posed to the United States' reputation as a model democracy. Best shows how, in his portraiture, Gardner celebrated Northern labor communities and elevated white immigrant workers, despite the industrialization that degraded them. She concludes with a discussion of Gardner's promotion of an American national infrastructure, in which photographers and photography played an integral role. Original and compelling, this reconsideration of Gardner's work expands the contribution of Civil War photography beyond the immediate narrative of the war to comprehend its relation to the vigorous international debates about democracy, industrialization, and the rights of citizens. Scholars working at the intersection of photography, cultural history, and social reform in the nineteenth century on both sides of the Atlantic will find Best's work invaluable to their own research.

Alexander Gardner is best known for his innovative photographic history of the Civil War. What is less known is the extent to which he was involved in the international workers’ rights movement. Tying Gardner’s photographic storytelling to his transatlantic reform activities, this book expands our understanding of Gardner’s career and the work of his studio in Washington, DC, by situating his photographic production within the era’s discourse on social and political reform. Drawing on previously unknown primary sources and original close readings, Makeda Best reveals how Gardner’s activism in Scotland and photography in the United States shared an ideological foundation. She reads his Photographic Sketch Book of the War as a politically motivated project, rooted in Gardner’s Chartist and Owenite beliefs, and illuminates how its treatment of slavery is primarily concerned with the harm that the institution posed to the United States’ reputation as a model democracy. Best shows how, in his portraiture, Gardner celebrated Northern labor communities and elevated white immigrant workers, despite the industrialization that degraded them. She concludes with a discussion of Gardner’s promotion of an American national infrastructure in which photographers and photography played an integral role. Original and compelling, this reconsideration of Gardner’s work expands the contribution of Civil War photography beyond the immediate narrative of the war to comprehend its relation to the vigorous international debates about democracy, industrialization, and the rights of citizens. Scholars working at the intersection of photography, cultural history, and social reform in the nineteenth century on both sides of the Atlantic will find Best’s work invaluable to their own research.

Alexander Gardner is best known for his innovative photographic history of the Civil War. What is less known is the extent to which he was involved in the international workers’ rights movement. Tying Gardner’s photographic storytelling to his transatlantic reform activities, this book expands our understanding of Gardner’s career and the work of his studio in Washington, DC, by situating his photographic production within the era’s discourse on social and political reform. Drawing on previously unknown primary sources and original close readings, Makeda Best reveals how Gardner’s activism in Scotland and photography in the United States shared an ideological foundation. She reads his Photographic Sketch Book of the War as a politically motivated project, rooted in Gardner’s Chartist and Owenite beliefs, and illuminates how its treatment of slavery is primarily concerned with the harm that the institution posed to the United States’ reputation as a model democracy. Best shows how, in his portraiture, Gardner celebrated Northern labor communities and elevated white immigrant workers, despite the industrialization that degraded them. She concludes with a discussion of Gardner’s promotion of an American national infrastructure in which photographers and photography played an integral role. Original and compelling, this reconsideration of Gardner’s work expands the contribution of Civil War photography beyond the immediate narrative of the war to comprehend its relation to the vigorous international debates about democracy, industrialization, and the rights of citizens. Scholars working at the intersection of photography, cultural history, and social reform in the nineteenth century on both sides of the Atlantic will find Best’s work invaluable to their own research.

A Word to Our Readers How to Study Scripture Questions — and How to Meet Them Epaphroditus Self-Surrender Restoration Deliverance The Law and the Gospel Dead to the Law Grace and Holiness Isolation A Workman's Motto Authority and Power Obedience and Dependence Stability and Peace Obedience: What is it? Preaching Christ: What is it? Jonathan The Alabaster Box Responsibility and Power Privilege and Responsibility Exhortation The Two Links Four Points of Knowledge "If the Lord Tarry" God Preaching Peace "Rivers of Living Water" A Fragment on Worship Separation: Not Fusion Two Impossibles "Reconciled and Saved" "Accepted" and "Acceptable" Relief for a Burdened Heart Three Precious Gifts Resurrection The Judgment Seat of Christ What is a Castaway? Self-Denial Self-Judgment Self-Emptiness Self-Control Provision for Perilous Times The Closing Scenes of Malachi and Jude The Sympathy and Grace of Jesus "Loops of Blue" Christ and His Yoke The Divine Anathema The Two Altars Cloven Tongues Israel and the Nations A Heart for Christ Stephen Peter on the Water Alone with Jesus A Sleepless Night "Have Faith in God" "What Wait I For?" An Earnest Appeal "Let Us Go Again" John the Baptist What Should I Read? The Work of God in the Soul "Five Words" The Book and the Soul The Study of the Book of Psalms Superstition and Infidelity The Grace of God Christian Life: What is it? Devotedness: What is it? "The Well of Bethlehem" David's Last Words The Priest's Place and Portion The Brazen Sea The Grapes of Eshcol The Two Mites "He From Within" A Motto for the New Year Reason and Revelation "Nevertheless" Headship and Lordship David's Three Attitudes "Gain to Me" The Sufficiency of the Scriptures Prayer The Divine Character of Faith The Law Marriage Children Servants Business Money and Debt Insurance Going to Law The Leading of the Spirit The Father's Discipline A Spirit of Love and Grace Lending Books Assembly Fellowship and Discipline The Lord's Supper Singing The Role and Deportment of Women Ministry and Service Unity Separation from the World False Positions and Unequal Yokes Military Service The Future State Self-Occupation Paul and the Twelve Reconciliation Righteousness Atonement The Sovereignty of God etc. Baptism The Coming of Christ The Believer's Security Dispensational Matters The Doctrine of Christ Judgment The Path of Faith and Exhortation Fiction "The Unpardonable Sin" Repentance and Conversion Judging

The mass is an extraordinary musical form. Whereas other Western art music genres from medieval times have fallen out of favour, the mass has not merely survived but flourished. A variety of historical forces within religious, secular, and musical arenas saw the mass expand well beyond its origins as a cycle of medieval chants, become concertised and ultimately bifurcate. Even as Western societies moved away from their Christian origins to become the religiously plural and politically secular societies of today, and the Church itself moved in favour of congregational singing, composers continued to compose masses. By the early twentieth century two forms of mass existed: the liturgical mass composed for church services, and the concert mass composed for secular venues. Spanning two millennia, The Origins and Ascendancy of the Concert Mass outlines the origins and meanings of the liturgical texts, defines the concert mass, explains how and why the split occurred, and provides examples that demonstrate composers’ gradual appropriation of the genre as a vehicle for personal expression on serious issues. By the end of the twentieth century the concert mass had become a repository for an eclectic range of theological and political ideas.