From the moment Hugh Dermott O'Connor""later to become Francis Joel Smith""was conceived, God's perfect plans for his life were already in motion. Born with Treacher Collins syndrome, a rare genetic disorder that affects the formation of the face during the first trimester of pregnancy, Infant Hugh's face was so severely deformed emergency surgery was performed moments after his birth just so he could breathe. Soon thereafter, he was deemed deaf and retarded. If Infant Hugh survived, it was believed he was destined to live out his life inside the walls of an institution. Yet his medical team fought valiantly to save this helpless infant's life. The LORD had other plans. Decades earlier, his God-fearing, God-loving adopted parents""Bob and Betty Smith""were divinely brought together and prepared and placed exactly where they needed to be in order to take this struggling, suffering child who battled for survival into their home, just as they already had with ten other challenged and rejected children they adopted before him. His foster mother, Mrs. Lillian Collins""a loving Christian woman""fought to sustain him and meet his immediate needs that included his first hearing aid and hefty doses of prayer. At two and a half years old, he was seamlessly integrated into the Smith household where daily scripture readings and prayer nourished him spiritually, and relentless ongoing tube feedings nourished him physically. Above all, Bob and Betty taught their children to love the LORD no matter what and to never give into their challenges. The LORD steadily provided for their needs, and through prayer and loving guidance, every challenge was met head-on. Today, Dr. Francis Joel Smith is a PhD medical researcher in craniofacial development and is a world-renowned speaker, musician, and advocate for those who suffer from craniofacial anomalies as he has. See our interview! Click Here!

**** New edition of the Greenwood Press original of 1979 (which is cited in BCL3), with a new introduction, chapter, and a supplementary bibliography. Annotation copyright by Book News, Inc., Portland, OR.

Traces the life of the Baptist clergyman and poet who wrote the words to the patriotic song, "My Country 'Tis of Thee."

Francis Palmer Smith was the principal designer of Atlanta-based Pringle and Smith, one of the leading firms of the early twentieth-century South. Smith was an academic eclectic who created traditional, history-based architecture grounded in the teachings of the cole des Beaux-Arts. As The Architecture of Francis Palmer Smith shows, Smith was central to the establishment of the Beaux-Arts perspective in the South through his academic and professional career. After studying with Paul Philippe Cret at the University of Pennsylvania, Smith moved to Atlanta in 1909 to head the new architecture program at the Georgia Institute of Technology. He would go on to train some of the South's most significant architects, including Philip Trammell Shutze, Flippen Burge, Preston Stevens, Ed Ivey, and Lewis E. Crook Jr. In 1922 Smith formed a partnership with Robert S. Pringle. In Atlanta, Savannah, Chattanooga, Jacksonville, Sarasota, Miami, and elsewhere, Smith built office buildings, hotels, and Art Deco skyscrapers; buildings at Georgia Tech, the Baylor School in Chattanooga, and the Darlington School in Rome, Georgia; Gothic Revival churches; standardized bottling plants for Coca-Cola; and houses in a range of traditional "period" styles in the suburbs. Smith's love of medieval architecture culminated with his 1962 masterwork, the Cathedral of St. Philip in Atlanta. As his career drew to a close, Modernism was establishing itself in America. Smith's own modern aesthetic was evidenced in the more populist modern of Art Deco, but he never embraced the abstract machine aesthetic of high Modern. Robert M. Craig details the role of history in design for Smith and his generation, who believed that architecture is an art and that ornament, cultural reference, symbolism, and tradition communicate to clients and observers and enrich the lives of both. This book was supported, in part, by generous grants from the Graham Foundation for Advanced Studies in the Fine Arts and the Georgia Tech Foundation, Inc.