The first edition of The English Chamber Organ was published in 1968. This new, revised edition takes into account the considerable research into chamber organs that has taken place over the last thirty years. Much of the book has been completely rewritten and expanded, and it includes a number of organs not detailed in the first edition. As its revised title suggests, this new edition covers foreign-make imports as well as British-made organs that were sent overseas. Part one comprises a series of chapters that cover the history of the chamber organ, its origins and development. Part two provides a general introduction to the construction of organs, while part three gives detailed descriptions of 196 British chamber organs, with information on their location, specifications, design, and suggestions for further reading. As a domestic instrument the chamber organ was often perceived to be as much a piece of furniture as an item of musical equipment. The Chamber Organ in Britain offers an assessment of the organ as both a musical instrument and as a decorative icon.

Nicholas Lanier (1588-1666) was not only the first person to hold the office of Master of the Music to King Charles I, he was also a practising painter, a friend of Rubens, Van Dyck and many other artists of his time, and one of the very first great art collectors and connoisseurs. He is especially remembered for the part he played in acquiring, on behalf of Charles I, the famous collection of paintings belonging to the Gonzaga family of Mantua. Many of these paintings still form an important part of the Royal Collection today. In this book the different strands of Lanier's colourful life are for the first time drawn together and presented in a single compelling narrative.

The first edition of The English Chamber Organ was published in 1968. This new, revised edition takes into account the considerable research into chamber organs that has taken place over the last thirty years. Much of the book has been completely rewritten and expanded, and it includes a number of organs not detailed in the first edition. As its revised title suggests, this new edition covers foreign-make imports as well as British-made organs that were sent overseas. Part one comprises a series of chapters that cover the history of the chamber organ, its origins and development. Part two provides a general introduction to the construction of organs, while part three gives detailed descriptions of 196 British chamber organs, with information on their location, specifications, design, and suggestions for further reading. As a domestic instrument the chamber organ was often perceived to be as much a piece of furniture as an item of musical equipment. The Chamber Organ in Britain offers an assessment of the organ as both a musical instrument and as a decorative icon.

Nicholas Lanier (1588-1666) was not only the first person to hold the office of Master of the Music to King Charles I, he was also a practising painter, a friend of Rubens, Van Dyck and many other artists of his time, and one of the very first great art collectors and connoisseurs. He is especially remembered for the part he played in acquiring, on behalf of Charles I, the famous collection of paintings belonging to the Gonzaga family of Mantua. Many of these paintings still form an important part of the Royal Collection today. In this book the different strands of Lanier's colourful life are for the first time drawn together and presented in a single compelling narrative.

Exchange programs are often considered to create goodwill for host countries among foreign citizens - yet is this the case? Drawing on a wealth of research with participants and alumni of exchange programs, Iain Wilson shows that the pursuit of goodwill receives little return and distracts these programs from the benefits they are able to deliver.

Exchange programs are often considered to create goodwill for host countries among foreign citizens - yet is this the case? Drawing on a wealth of research with participants and alumni of exchange programs, Iain Wilson shows that the pursuit of goodwill receives little return and distracts these programs from the benefits they are able to deliver.

This book argues that a major reason for America's propensity to 'lose the peace' is the way the nation defines war and how the U.S. military is currently organized for warfare. The author offers new propositions and operational approaches to war-planning that give new hope and practical solutions to overcoming the paradox of American Way of War.

This book argues that a major reason for America's propensity to 'lose the peace' is the way the nation defines war and how the U.S. military is currently organized for warfare. The author offers new propositions and operational approaches to war-planning that give new hope and practical solutions to overcoming the paradox of American Way of War.

Why was there a deliberate plan to fight the war in Iraq but none to win the peace? This question, which has caused such confusion and consternation among the American public and been the subject of much political wrangling over the past two years, is the focus of Lt. Col. Isaiah Wilson's investigation. Director of the American politics, policy, and strategy program at West Point, Wilson points to a flaw in the government's definition of when, how, and for what reasons the United States intervenes abroad. It is a paradox in the American way of peace and war, he explains, that harkens back to America's war loss in Vietnam. The dilemma we face today in Iraq, the author says, is the result of a flaw in how we have viewed the war from its inception, and Wilson reminds us that Iraq is just the latest, albeit the most poignant and tragic, case in point. His exploration of this paradox calls for new organizational and operational approaches to America's intervention policy. In challenging current western societal military lexicon and doctrine, Wilson offers new hope and practical solutions to overcome the paradox once and for all.

There is a long-standing consensus that Solomon's prayer in 1 Kings 8 characterizes YHWH as having been 'relocated' to heaven and therefore no longer present in the temple. This study is the first sustained attempt to challenge that view. It does so by focusing on a hitherto overlooked collocation within the chapter, and concludes that the prayer portrays YHWH as being present both in heaven and in the building. Such a finding inevitably has consequences for wider issues involving divine presence both within and beyond the confines of 1 Kings 8. These include a cluster of ideas traced to the large central section of the chapter and involving a purely transcendent Deity, a (semi-)independent divine "name" inhabiting the sanctuary and an effectively desacralized temple. All three, together with the scholarly construct known as Name Theology, are called into question if YHWH is indeed represented as being localized within the temple.