34,282 research outputs found
The Peter D. Smith House at Waterloo Village
No full textThe Peter D. Smith house was erected in 1871, the same year Peter, 26, was married. The house overlooks the village and has a sweeping view of the Musconetcong River and Morris Canal.
Peter D. Smith, grandson of John Smith, had this elaborate home with its fashionable Mansard roof and Second French Empire architecture built circa 1870. Peter D. married Ann Elizabeth Sandford of Newark and they had four children. Sadly, but not uncommon for the times, their two daughters died during childhood.
Their oldest son married his childhood friend and love, Claribel Stackhouse, on his deathbed and died at the age of 26.
The surviving child, Sandford Roy Smith (1887-1982), lived in Waterloo Village in his younger years and inherited his father�s estate.Original file name fullsizeoutput_b9c (2).jp
Engraved portrait of Sir Peter Temple (bap. 1592, d. 1653)
No full textEngraved portrait of Sir Peter Temple (bap. 1592, d. 1653) by Richard Gaywood (active 1644-1688
The Peter D. Smith House at Waterloo Village
No full textThe Peter D. Smith house is considered to be the most architecturally significant building in the village. It is located on top of a rise of land on the north side of the old Waterloo Road.
This house is a three-story wood-framed dwelling designed in the Second Empire style of architecture.
Smith Peter Smith was the grandson of John Smith, who purchased both large and small tracts of land in and around the village in the late 1820s and early 1830sOriginal file name 47.jp
The Peter D. Smith Carriage House - The Blue Barn
No full textThis beautiful cupola topped barn is located some distance behind the main house, on the other side of a road that passes at the back of. the village. It was built in 1871.
This was the carriage house for Peter D. Smith.
Carriage houses were usually located behind the main house and were used to
store carriages, equipment, livery accessories, horses and hay.Original file name fullsizeoutput_ba4.jp
John Peter Smith Hospital Addition Photograph of Drawing
No full textJohn Peter Smith Hospital Addition Photograph of Drawinghttps://mavmatrix.uta.edu/specialcollections_wdsmithphotography/6639/thumbnail.jp
Psychiatric Ward John Peter Smith Hospital Photograph of Drawing
No full textPsychiatric Ward John Peter Smith Hospital Photograph of Drawinghttps://mavmatrix.uta.edu/specialcollections_wdsmithphotography/6646/thumbnail.jp
Zechariah 9-14 as the substructure of 1 Peter’s eschatological program
No full textThe principal aim of this study is to discern what has shaped the author of 1 Peter to regard Christian suffering as a necessary (1.6) and to-be-expected (4.12) component of faithful allegiance to Jesus Christ. Most research regarding suffering in 1 Peter has limited the scope of inquiry to two particular aspects—its cause and nature, and the strategies that the author of 1 Peter employs in order to enable his addressees to respond in faithfulness. There remains, however, the need for a comprehensive explanation for the source that has generated 1 Peter’s theology of Christian suffering. If Jesus truly is the Christ, God’s chosen redemptive agent who has come to restore God’s people, then how can it be that Christian suffering is a necessary part of discipleship after his coming, death and resurrection? What led the author of 1 Peter to such a startling conclusion, which seems to runs against the grain of the eschatological hopes and expectations of Jewish restoration ideology?
This thesis analyzes the appropriation of shepherd and fiery trials imagery,
and argues that the author of 1 Peter is dependent upon Zechariah 9-14 for his
theology of Christian suffering. Said in another way, the eschatological program of
Zechariah 9-14, read through the lens of the Gospel, functions as the substructure
for 1 Peter’s eschatology and thus its theology of Christian suffering.
In support of this hypothesis, this study highlights the fact that Zechariah 9-
14 was available and appropriated in early Christianity, in particular in the Passion
Narrative tradition; that the shepherd imagery of 1 Pet 2.25 is best understood
within the milieu of the Passion Narrative tradition, and that it alludes to the
eschatological program of Zechariah 9-14; that the fiery trials imagery found in 1
Peter 1.6-7 and 1 Pet 4.12 is distinct from that which we find in Greco-Roman and OT
wisdom sources, and that it shares exclusive parallels with some unique features of
the eschatological program of Zechariah 9-14; that Zechariah 9-14 offers a more
satisfying explanation for the modification of Isa 11.2 in 1 Pet 4.14, the transition
from 4.12-19 to 5.1-4, why Peter has oriented his letter with the term διασπορά,
and why he has described his addresses as οἶκος τοῦ θεοῦ; and finally that 1 Peter
contains an implicit foundational narrative that shares distinct parallels with the
eschatological program of Zechariah 9-14.
We can conclude that 1 Peter offers a unique vista into the way in which at
least one early Christian witness came to understand and to communicate the fact
that Christian suffering was a necessary feature of faithful allegiance to Jesus Christ
Construction of addition for John Peter Smith Hospital
No full textConstruction of addition for John Peter Smith Hospital. Architect: Preston M. Geren. Engineers and general contractors: Thomas S. Byrne, Inc.https://mavmatrix.uta.edu/specialcollections_wdsmithphotography/13803/thumbnail.jp
Ely, H.P., letter, Medford, [N.J.], November 15, 1857, to "Resp[ec]t[e]d F[rien]d." [Peter Still]
No full textH.P. Ely informs Peter Still that he (Ely) has received a letter from Dillwyn Smith; alludes to a trip to New England by Still to sell books; reports that Smith is suffering financially, apparently as arbitration (relating to construction of Still’s house?) reduced the amount of money that Smith was to receive, despite related bills that Smith must still pay; believes that Still should pay one of Smith’s relevant bills, as Smith “has met with many losses” and “Dillwyn[’]s family & connections have done more for [him] than all others with their money & reccommendations [sic]”; further suggests that through inaction Still could “loose the interest of [his] best friends and injure the cause of freedom for the slave”; and adds, in a postscript, that he has forgotten to mention a bill from the painter, who urgently seeks payment
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