Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

'What a fabulous book - a must for any royal watcher! It's elegant, stylish and gloriously illustrated. I didn't want it to end. I loved the original and innovative approach to the subject, and the new insights I gained. I cannot recommend it highly enough.' Alison Weir One of the Independent's 'best books to give this Christmas'. A lavishly illustrated celebration of the 70-year reign of Queen Elizabeth II and the British Royal Family from the unrivalled archive of British Vogue. 'Vogue, like the royal family, has been through many evolutions of its own, and to view Her Majesty's life though the record of our pages is truly a document of history.' - Edward Enninful, Editor-in-Chief of British Vogue Four monarchs (crowned and uncrowned); one abdication; one royal investiture; a jewel box of jubilees and many, many royal marriages... British Vogue has borne witness to a century of royal history. The Crown in Vogue is the magazine's 'special royal salute' to our longest serving monarch and her 'assured and unwavering' presence in the lives of a nation. Vogue's first star photographer, Cecil Beaton, was entranced by the House of Windsor and the admiration was mutual. A younger star photographer, Antony Armstrong Jones, left Vogue to marry the Queen's sister and returned as Lord Snowdon. The Queen's cousin, Vogue's Lord Lichfield proved an insightful photographer of royal style along with many of Vogue's fashion photographers including Horst, Norman Parkinson and David Bailey. With visual treasures from Vogue's unrivalled archive and contributions through the decades from the most perceptive of royal commentators - from Evelyn Waugh to Zadie Smith - The Crown in Vogue is the definitive, authoritative portrait of Queen Elizabeth II's magnificent reign - and of royalty in the modern age.

This is a dangerous book, dangerous because it deals with perhaps the most serious conflict in history, and I commend it with some trepidation. That conflict began in Genesis and has continued unabated through history. Beecher's book was originally published when America was deeply conflicted over the Great Awakenings and the New School/Old School controversies that set the stage for the American Civil War. Beecher wrote, ..".soon after the opening of the Reformation, the power of that system was so far broken, and consistent and free thought had so much more scope, that the whole system was so modified as better to accord with the fundamental principles of the Pelagian theory of human nature. The same was true in the case of Dr. John Taylor. The doctrine of the Trinity was dropped in each case. Yet, at first, the whole system was not reduced to its natural and consistent level. Socinus still retained the worship of Christ, and persecuted Davides for dissenting from his views. Dr. J. Taylor approximated as near to the Trinity as the Arianism of Dr. S. Clarke would allow. He also did not remove from his doctrine all the language which belonged to the orthodox doctrine of the atonement. It was not until the close of the last and the beginning of the present century that the principles of the Pelagian theory were fully and consistently developed in modern Unitarianism" (p. 272). The world and the Christian churches had turned toward Pelagianism and away from the Trinity, and Beecher sought a solution to this problem. Many people today have come to realize that something very fundamental or basic has gone awry in Christendom and in the world. There are calls for reformation and revival coming from nearly every corner of the church and the world today. Ross calls for Beecher's work to be reevaluated afresh and works to correct Beecher's infatuation with preexistence by sug-gesting a Trinitarian solution to the problem Beecher presented. Edward Beecher (1803-1895), a noted theologian, the son of Lyman Beecher and brother to Harriet Beecher Stowe and Henry Ward Beecher, was senior editor of The Congregationalist (1849-1855), and an associate editor of the Christian Union from 1870.