An acclaimed Scottish golf course architect who had to go to America to make his name lands the most coveted commission in all of golf: to design the first new course in almost a century for the town of St. Andrews, the game’s ancestral home. David McLay Kidd became a wunderkind golf course architect before he was thirty years old, thanks to his universally lauded design at Bandon Dunes on the Oregon coast. When the town of St. Andrews announced in 2001 that a new championship course was in the works—the town’s first since 1914—Kidd fought off all comers and earned the right to make golf history. Author Scott Gummer was there to chronicle the days in the dirt and the nights in the pubs, the politics and histrionics, all with exclusive access to David Kidd, his team, and the St. Andrews Links Trust. Unfolding in arresting you-are-there scenes, The Seventh at St. Andrews follows the young master at work as Kidd, with his sharp tongue, leads his accomplices in transforming a plot of flat, uninspiring farmland—smack in the middle of which sits the town’s sewage plant—into a rollicking golfing adventure and the most anticipated golf course opening in a generation. Murphy’s Law seems to govern the process, however, as everything that can go wrong seemingly does: from epic wooly weather, to cattle grazing on the site, to vociferous opposition among the townsfolk, to bureaucrats so stuck in their ways they cannot be budged even with one of Kidd’s bulldozers. The story chronicles the decade-long journey from the first notion of a seventh course to its official opening. Kidd & Co. exceed everyone’s expectations by building a magnificent throwback course that looks to have been shaped by the wind and rain and nature rather than modern machinery. The Seventh at St. Andrews brings the underappreciated art of golf course design to life, and along the way profiles an unforgettable cast of characters that includes Kidd’s jovial father, a golf legend in his own right; Kidd’s taciturn right-hand man; and the roustabout Scottish shaper, the Da Vinci in a ’dozer who is the heart of Kidd’s crew.

First extended treatment of the city of St Andrews during the middle ages. St Andrews was of tremendous significance in medieval Scotland. Its importance remains readily apparent in the buildings which cluster the rocky promontory jutting out into the North Sea: the towers and walls of cathedral, castleand university provide reminders of the status and wealth of the city in the Middle Ages. As a centre of earthly and spiritual government, as the place of veneration for Scotland's patron saint and as an ancient seat of learning, St Andrews was the ecclesiastical capital of Scotland. This volume provides the first full study of this special and multi-faceted centre throughout its golden age. The fourteen chapters use St Andrews as a focus for the discussion of multiple aspects of medieval life in Scotland. They examine church, spirituality, urban society and learning in a specific context from the seventh to the sixteenth century, allowing for the consideration of St Andrews alongside other great religious and political centres of medieval Europe. Michael Brown is Professor of Medieval Scottish History, University of St Andrews; Katie Stevenson is Keeper of Scottish History and Archaeology, National Museums Scotland and Senior Lecturer in Late Medieval History, University of St Andrews. Contributors: Michael Brown, Ian Campbell, David Ditchburn, Elizabeth Ewan, Richard Fawcett, Derek Hall, Matthew Hammond, Julian Luxford, Roger Mason, Norman Reid, Bess Rhodes, Catherine Smith, Katie Stevenson, Simon Taylor, Tom Turpie.

A masterful celebration--in words and vintage photos--of the famous St. Andrews golf course in Scotland, A Wee Nip at the 19th Hole takes an evocative look at the role that caddies have played in shaping this centuries-old game.

Critical reviews of golf courses in the northern United States and Canada.

From one of the first mentions of St. Andrews by the British in 1771 to the present day, people have long been pulled to the community as an ideal place to live. Around 1880, many years after Native American tribes greeted the first European settlers to St. Andrews, the St. Andrews Bay Railroad, Land and Mining Company summed up this idyllic town in an advertisement for mailorder real estate with this description: "The loveliest location in all Florida . . . the fairest land the sun ever blessed with its genial kiss. There is but one Florida, and St. Andrews Bay is its brightest jewel." Many settlers lured by advertising such as this came to visit and found they wanted to stay. After St. Andrews incorporated in 1908, the community began its transformation into the popular port it is today.

In The Lost Meaning of the Seventh Day, Sigve K. Tonstad recovers the profound and foundational understanding of God that can be experienced in the seventh day. He shows that Scripture has consistently asserted that the Sabbath of Creation is the Sabbath of the whole story of how God makes right what has gone wrong in the world. Tonstad argues that the seventh day is the symbol of God¿s faithfulness precisely when God¿s presence seems to be in doubt. He demonstrates how God, through the seventh day, seeks the benefit of all creation. Inevitably, this leads to an investigation of how this universal symbol became obscured. This sweeping work of biblical theology and historical analysis traces the seventh day as it is woven throughout Scripture and the history of Christianity. Its twenty-seven chapters consider, among other things, the relationship of the seventh day to freedom, to social conscience, to the ¿greatest commandment,¿ and to the enigmatic ¿rest that remains.¿ Tonstad engages the move away from the seventh day in early Christian history, the mindset in medieval Christianity, and the sobering long-term implications leading all the way to the Holocaust and the ecological crises in our time. The Lost Meaning of the Seventh Day will engage, illuminate, provoke, and ultimately inspire readers who enjoy a serious work presented in a style that is ¿luminous¿ and a ¿delight to read.¿

John Merbecke (c.1505-c.1585) is most famous as the composer of the first musical setting of the English liturgy, The Booke of Common Praier Noted (BCPN), published in 1550. Not only was Merbecke a pioneer in setting English prose to music but also the compiler of the first Concordance of the whole English Bible (1550) and of the first English encyclopaedia of biblical and theological studies, A Booke of Notes and Common Places (1581). By situating Merbecke and his work within a broader intellectual and religio-cultural context of Tudor England, this book challenges the existing studies of Merbecke based on the narrow theological approach to the Reformation. Furthermore, it suggests a re-thinking of the prevailing interpretative framework of Reformation musical history. On the basis of the new contextual study of Merbecke, this book seeks to re-interpret his work, particularly BCPN, in the light of humanist rhetoric. It sees Merbecke as embodying the ideal of the 'Christian-musical orator', demonstrating that BCPN is an Anglican epitome of the Erasmian synthesis of eloquence, theology and music. The book thus depicts Merbecke as a humanist reformer, through re-evaluation of his contributions to the developments of vernacular music and literature in early modern England. As such it will be of interest, not only to church musicians, but also to historians of the Reformation and students of wider Tudor culture.