This ecumenical effort to study the basics about Mary in the NT was undertaken in the mid-70's and is still the standard almost thirty years later. A truly exhaustive, balanced, and informative work that keeps its focus on Scriptural interpretation and probabilities...seeing a number of sides of the sectarian coin on Mary but always opting for the most plausible interpretation, based upon the flat-out *science* of understanding Scripture. Excellent. The best part is the extra chapter on Mary in the 2nd century Christian experience, following-up on what the post-Apostolic churches garnered from the original records and traditions. An absolute MUST for any student or Christian scholar's library.

I found this book an excellent introduction to the art of tailless aircraft design. It is a well laid out book which allows you either to read it through, or to browse topics of particular interest to the reader. The enthusiasm of the authors is obvious from the tone of the book and isn't lost in the translation from German. Most of the explanations and solutions are given in a conceptual form often by analogy before the maths is presented in any detail. This makes it a very easy book to use and understand.

D W Griffith figures as the patron and idol of Karl Brown. There is no doubt that D W Griffith, the director of "Birth of a Nation" and "Intolerance". the supposed inventor of the "close-up" and discover of the Gish sisters, contributed immensely to the development of motion pictures as a distinct art form (perhaps THE art form of this century). Even so, the Griffith which emerges from these pages is half tyrant and "control freak" who ultimately is made obsolete by a public becoming increasingly sophisticated in its tastes. Karl Brown was taken on as a junior camera man by Griffith, and it is through his recollections that the early years of the American cinema comes alive. Still, this is an autobiography so we are treated to a Norman Rockwell account of the early years of this century that illuminates the millieu from which Griffith's work sprung. There is more than an element of defensiveness from Brown as he tries to reconcile Griffith's persona as a "gentleman" with his often reactionary views as exemplified in " A Birth of a Nation" ( afilm that was almost banned in Australia and parts of the US). Griffith does not emerge from this work unscathed. Worth reading for historical interest.

Many books has been published about the silent movies era, from picture books to great actors to the eternal Chaplin and Pickford. This one is from one of Griffith cameramen's so for once, we stand behind the camera. What is different about Brown's account is the way the narration goes: his autobiographical experience of going through that time where everything was almost new and a lot had to be done. He states the important and not so important anecdotic facts while using a sometimes ironic tone and a semi-chronological pace of remembrance. He even explain, matter-of-factly, some technical aspects of the trend, etc... This book has a lot to offer for the silent movies or Griffith fans, especially if you have seen "Birth of a Nation" and "Intolerance". This is not the typical movie-related-good-for-the -fans-only book with Ohs! and Ahs! and Wow! to sustain you throughout your reading. It is a very specific moment in the life of a guy who was there when movies were at their beginning, a time long gone...

If you are interested in silent films or David Wark Griffith, then you won't be able to put this book down until you are finished! Karl Brown worked for the Kinemacolor company as a teenager in the 1910s. Just when this company went out of business, D.W. Griffith and his stock company arrived in Los Angeles. He quickly became a camera assistant to cameraman Billy Bitzer. He worked on Griffith's THE AVENGING CONSCIENCE, BIRTH OF A NATION, and INTOLERANCE, among other films. His book is funny, exciting, and informative. He is in awe of Griffith and actress Lillian Gish. He works his hardest to satisfy Griffith's demands on the job, but this sometimes makes Bitzer jealous of him. Brown is confused by many of the things that Griffith does while making these films, but he soon learns why Griffith works this way. The book also includes a chapter on Brown's stint in the Army during World War I, where he was given a one-week leave of absence to help Griffith with BROKEN BLOSSOMS. This is the finest memoir by any silent film vetran that I've read, and I've read quite a few.

The review of the Clean Air Act is well done. Absorption tower examples are very dated - saddles are stated to be the preferred tower packing, so the tower designed is grossly oversized with enormous pressure drop compared to what is possible with a modern packing. If you need a reference work with practical examples to pollution control towers keep looking.

If you need a reference work that summarizes the Clean Air Act then this is a good source. It is also has technically sound theoretical explanations of air pollution control. However it is a poor source if you seek suggestions for any type of current air pollution control project. The examples in the text are extremely dated and hence grossly oversized. The authors recommend that saddles be used to pack towers and then design the tower to have over 40 ft of packing. As a result their towers are much to big, much too tall and have enormously high pressure drop. Unfortunately the authors ignore (or are simply unaware of) several generations of mass transfer packing development that allow for much more practical and far less costly designs than per their examples.