Bøger om År 1400 til 1499

The permanent exhibition in the north wing of Dresden's Royal Palace presents the surviving, magnificent vestments from the possessions of the Saxon electors, dating from around 1550 to 1650. This unique treasure trove of European fashion and textile history from the Renaissance and early Baroque has now been re-opened to the public after more than 80 years in storage and many years of conservation and restoration measures. This exhibition guide is the first work to do justice to a collection rich in silk, gold and silver. It covers all the rulers' robes on display, including complete costume ensembles, suits with doublet and trousers, ladies' dresses, and individual garments. There are also introductions to the many portraits, accessories and sumptuous armoury on display. Clothes make the man - clothes make politics: rulers' costumes and haute couture from the period 1550 to 1650

Art historians have long debated the question why sources about the origin of the Mona Lisa portrait provide conflicting information. This monograph presents a solution for this quandary: these 16th century sources don't agree because they are not talking about the same painting. If we consider this possibility, that Leonardo painted not one, but two versions of the Mona Lisa, then all of these problems begin to resolve themselves. In fact, throughout his life Leonardo would often return to a motif or composition for a variety of reasons. Thus we have at least two versions of The Virgin of the Rocks, painted by Leonardo with the De Predis brothers in Milan, and two versions of the Madonna of the Yarnwinder, painted by Leonardo with his assistants in Florence. In other words, the proposition that Leonardo may have painted not one, but two versions of the Mona Lisa is by no means far-fetched. Nonetheless, it also raises an important question. If Leonardo did paint an earlier version in addition to the Louvre Mona Lisa, where is this portrait today? And how can we determine whether this painting is indeed an autograph, rather than one of the many Mona Lisa versions and copies that are still extant today?The answers to these questions are provided in this book, based on contributions by scholars from around the world. They include Prof. John Asmus of the University of California at San Diego; Prof. Vadim Parfenov at the State Electrotechnical University in St. Petersburg, Russia; Prof. Átila Soares da Costa Filho of the Universidade Cândido Mendes in Rio de Janeiro, Brazil; Prof. Jason Halter of the University of Michigan; and Prof. Robert Meyrick of Aberystwyth University. In addition, this monograph includes contributions by noted art critic Gérard Boudin de l'Arche and two prominent artists, Albert Sauteur and Joe Mullins. The book is edited by Prof. Jean-Pierre Isbouts of Fielding Graduate University at Santa Barbara, CA. His previous publications on Leonardo da Vinci include The Mona Lisa Myth; Young Leonardo: The Evolution of a Revolutionary Artist; and The Da Vinci Legacy, co-authored with Dr. Christopher Brown.

Der vorliegende Band ist die letzte Veröffentlichung des DFG-Netzwerkes Forum für Frauenstiftsforschung. Er präsentiert Beiträge von Wissenschaftlerinnen und Wissenschaftlern, die sich im Zuge der dritten Tagung gezielt auf die Suche nach Malerei, Musik und textilen Künsten in Frauenstiften des späten Mittelalters gemacht haben. Einschlägige Gegenstände, Formen und Gattungen wurden so im Hinblick auf die Frage neu untersucht, was für Frauenkonvente spezifisch war - hinsichtlich der Fertigung, der Stiftung, der Performanz oder auch der Rezeption. Der Zyklus von 1456 in St. Ursula wird in diesem Band erstmals vollständig farbig abgedruckt, die Stiftungen der Familie Hirtz dort werden gesondert gewürdigt. Bei den weiteren Kölner Konventskirchen St. Maria im Kapitol und St. Cäcilien fällt neues Licht auf die ursprüngliche Sakraltopografie und Puzzle-artig rekonstruierte Glasmalerei. Heininger und Fischbecker Manuskripte geben das lokale Musikleben preis. Die besondere Kunstfertigkeit der Kanonissen mit Textilien zeigt sich wiederum in St. Ursula in Köln, durch Paramente, Fahnen und Altartücher, und zugleich in dem noch jungen Feld der Erforschung textiler Anteile in Handschriften. Erstmals werden zudem zwei Neufunde aus den ehemaligen Frauenstiftskirchen in Quedlinburg und Vreden ins Gespräch gebracht.Mit Beiträgen von: Pavla Ralcheva, Markus Jansen, Klaus Gereon Beuckers, Julia Noll, Jörg Bölling, Achim Bonk, Gudrun Sporbeck, Maria Schaller, Linda Herbst, Volker Tschuschke

She's on the run from a deadly enemy. He lives in the shadows of truth. When their lives merge, will their battle for survival lead to love? The German Alps, 1450 AD. Lady Beatrix Edelman refuses to go down without a fight. Already under siege in the palace, she's forced to gather her family and flee from her violent illegitimate son-in-law's murderous rampage. And though she's thankful for refuge at a convent, the duchess is too focused on defending her children to notice the mute man unable to tear his eyes away… Erasmus has not spoken one word since the day his father tried to kill him. Taken in by the charitable nuns as a traumatized child, the now-grown refugee is terrified someone will learn his true identity. But when a remarkable woman shows up seeking asylum, he's compelled to assist her no matter the personal cost. Taken as a hostage by the villagers, Lady Beatrix despairs as she becomes dependent on the silent stranger for aid. And after Erasmus finds her frantically looking for escape, he breaks years of silence to convince the captivating beauty to trust him… despite his shocking secret. Can they help each other find safety and the haven waiting in their arms? Duchess in Flight is a bold and dashing historical romance novel. If you like reluctant heroes, strong women, and chances for redemption, then you'll adore Marina Pacheco's adventurous tale. Buy Duchess in Flight to escape into happily-ever-after today!

The main story takes place over the course of about a week in May 1555 during the reign of 'bloody' Mary Tudor.In part one, the first and now former Bishop of Bristol, Lord Paul Bushe, is alerted to a mounting heresy problem developing in Kingswood Forest (a wild part of the diocese of Bristol) by the inexperienced new bishop, Lord John Holyman. He is called away from his comfortable and established routine as Rector of Winterbourne and the simpler life of a country gentleman scholar to investigate and resolve the matter before it attracts national attention. The situation raises apprehension and genuine fear, and Bushe agrees to act in order to protect the diocese and its environs from the dire social, economic, and religious consequences of the queen's (rumoured) heightened zealotry.Bushe's thoughts, travels, and decisions are juxtaposed with those of Master John Burgess, a budding force in the local woollen industry and a well-liked man of Kingswood Town. As Bushe moves toward Bristol Cathedral, he reminisces about his life as a chaplain to Henry VIII, as a bishop, and as a client of Thomas Cromwell. Interspaced with these are segments on Burgess's travels to Mid-Summer Norton and Wells (which took place about a year earlier), his instructing of his apprentice in the wool trade, and about life in general, discussions of current events, meeting both his contacts in the banned book network and his first run-in with England's changing religious laws. At the end of part one Bushe meets with Burgess in the cells of Bristol Cathedral in order to make an assessment of his character and culpability. He finds that the real driving force behind the growing heresy is not John, however, but his wife Margaret (currently in the next cell over).In part two, the story follows Bushe's investigation of the heresy matter, a journey which takes him to Kingswood Town, Bitten, and back again to Bristol. Here, his movements are juxtaposed with the investigation, with Bushe's interviews with Margaret in the Cathedral cells, their discussions of the main religious issues (theology and bible passages), her leading of a small prophecy fellowship at one of her husband's woollen mills (featuring members of the fellowship), the effect her group is having in the town and the threat to the diocese and the region that it inspires. Over the course of the investigation Bushe finds himself impressed with Margaret's enthusiasm (if not her actually understanding of the issues) and tries to give her the benefit of his greater learning and wisdom (wishing that he could teach her a better way). Early on Bushe accuses Margaret of being the biblical and titular unprofitable servant, but over the course of their meetings and events which transpire he comes to wonder if perhaps he was not actually himself the servant. The Burgess case gives Bushe a final chance to prove to himself that he is not and to do something genuinely beneficial.Part three is the final confrontation, at the Cathedral, between Bushe, the Burgesses, and the members of the Kingswood Town fellowship. Here Bushe tries to bring them around the a correct understanding of the Marian constituted religion, in the process saving their souls and sending them back out with a heightened sense of truth and a desire to work for the betterment of the forest folk in a more royally-approved manner. The Epilogue is Bushe's beginning to finally write the treatise he has been tasked by the queen and archbishop to write, one which uses the recent events as both starting point and subject matter, meant to bring a wider understanding of the issues to the realm at large. Bristol, England's second city and home of the woollen industry, is spared from the burnings.

"Gathering together nearly 300 objects, including paintings, prints, scientific illustrations, textiles, sculpture, metalwork and furniture, "Making Her Mark" illuminates the astonishing diversity and breadth of female contributions to art of the pre-modern era (c. 1400-1800). In this important re-examination of early modern European art, an international team of scholars and curators assess the critical concepts that have shaped Western culture's understanding of what constitutes great art. In its recalibration of gender imbalances, this impressive volume offers an alternative view of the history of European art and sheds light on the collaborative nature of the creation of individual works and the interconnected histories of literature, politics, religion, science, and economics. Ambitious in its scope, "Making Her Mark" is a bold corrective to the assumption that female artists of the past were rare and that their work was unremarkable. The result is a dynamic introduction to scores of women artists whose names are entirely new and a long-overdue reassessment of the art, culture, and history of early modern Europe."--

Die körperliche Reinigung stellt eine anthropologische Konstante dar. Das Bad dient hygienischen wie rituellen Zwecken und lässt sich im übertragenen Sinn auch auf das seelische Heil beziehen. Vor allem aber verweist es auf den pflegebedürftigen Körper, der zum Waschen entblößt werden muss. Aus Mythologie, Theologie und Medizin lässt sich das Thema nicht wegdenken. Entsprechend vielgestaltig fallen Darstellungen von badenden Menschen aus. Jan-David Mentzel stellt anhand ausgewählter Kunstwerke die reichhaltige Bildwelt rund um das Bad vor und spürt den vielfältigen kulturellen Verknüpfungen des Themas nach. Dabei zeigt er, auf welche Weise Künstler wie etwa Jan van Eyck oder Albrecht Dürer das Sujet in der Renaissance als Experimentierfeld nutzten, um neue Körperbilder zu erproben. Fundierter Überblick über die reichhaltige Bildwelt des Bades im 15. und 16. Jahrhundert Neue Bewertung von Badedarstellungen als künstlerisches Experimentierfeld Darstellung der wichtigsten Bade-Ikonographien in Malerei, Graphik und Buchkunst

Neben Albrecht Dürer gelten Hans Holbein d. Ä. und Hans Burgkmair als Wegbereiter der Renaissancemalerei im Norden. Wichtiges Zentrum dieser künstlerischen Blütezeit war die wohlhabende Reichs- und Handelsstadt Augsburg. Anhand hochkarätiger Werke bietet der Band einen umfassenden Einblick in den epochalen Umbruch vom Mittelalter zur Neuzeit.Augsburg wurde früh von der humanistischen Kultur Italiens beeinflusst. Aufgrund der Kunstsinnigkeit international agierender Handelshäuser, wie der Fugger, der zahlreichen Aufenthalte Kaiser Maximilians I. und der häufigen Reichstage bot die Kulturmetropole Künstlern wie Holbein d. Ä. und Burgkmair einen idealen Nährboden für die Entwicklung einer neuen Kunst. Anhand ihrer wichtigsten Tafelbilder, die unter anderem Werken von Dürer gegenübergestellt werden, wird die überaus fruchtbare wie auch unterschiedliche Aneignung der italienischen Renaissance durch die beiden Protagonisten nachgezeichnet.

Im Venedig der Renaissance ergründeten Meister wie Bellini, Giorgione, Palma Vecchio und Tizian das Wesen von Mensch und Natur sowie deren Verhältnis zueinander mit nie dagewesener Intensität. Anhand bedeutender Porträt- und Landschaftsdarstellungen zeigt der attraktive Band die bahnbrechenden Neuerungen der venezianischen Malerei, die bis weit in die Moderne wirkten.Die Malerei der Lagunenstadt besticht nicht nur durch die Fülle der Farben und Nuancen des Lichts, sondern auch durch das besondere Einfühlungsvermögen, mit dem sich die Künstler ihren Darstellungen widmeten. Es entstanden feinsinnige Porträts, verführerische Idealbildnisse und Historienbilder, deren eigentliche Protagonistin die stimmungsvolle Landschaft ist. Eindrücklich befragt das Buch diese Meisterwerke hinsichtlich ihrer hohen Innovationskraft, ihrer Entstehungszusammenhänge und zeitgenössischen Lesarten.KÜNSTLERGiovanni Bellini | Paris Bordone | Giovanni Cariani | Cima da Conegliano | Giorgione | Bernardino Licino | Lorenzo Lotto | Sebastiano del Piombo | Tintoretto | Tizian | Palma Vecchio u. a.

Born into a world of privilege and power, Mary Tudor expected to live the life of every other European Princess during the Renaissance.She knew it was her duty to marry well, and provide sons and heirs to her future husband, while remaining in the political shadows of a world dominated by ruthless men.Her father's desperate need for a male heir and his willingness to send everybody who got in his way to their deaths, meant that Mary had very little hope of obtaining the English Crown.But a series of traumatic events nobody could see coming would propel Mary on a life-long journey to claim what so many believe to be rightfully hers: The Throne of England.

Flatiron fiction title to be revealed. On sale april 2024

William Shakespeare from Stratford-upon-Avon appeared in London in 1590 at the age of 26 and is believed by many to have begun writing the greatest plays the world has ever seen. There is no record of his education, if he had any. His parents, wife and children may have been illiterate. He left no books. No one reported in any diary or letter that they had met him or talked to him, or even talked about him. He left six signatures, all different. Three were on his last will and testament, which makes no mention of any plays, poems or books; two were on deeds to real property; the last was on an affidavit he gave in a court case. The records show a businessman who acquired considerable property during his lifetime, hoarded grain during a famine, and engaged in a number of lawsuits, one over as little as five pounds. He was connected with the theatre and may have been an actor, but there is nothing that independently proves he was the author of the plays attributed to him. Mark Twain, Sigmund Freud, Orson Welles, Sir Lawrence Olivier, Sir Derek Jacobi, Walt Whitman, and many others, including a number of United States Supreme Court justices, have all concluded that William did not write the plays. But if he didn't, who did? And if someone else was the greatest author who ever lived, why was Shakespeare given the credit? This is how it happened, and why Shakespeare paid with his life for his part in, to use the words of Henry James, "the biggest and most successful fraud ever practiced on a patient world

Je me sens presque renaître... Non ! Ce n'est pas cela. Lorsque l'on vient au monde, on ne sait rien. On n'a même pas conscience d'être un enfant de Dieu !Je vais enfin savoir...Bizarre. Ce qui vient maintenant me semble surprenant. J'ai l'impression de me trouver à plusieurs endroits à la fois. C'est comme si je me trouvais dans les environs de Grazac, dans le bas de la vallée, mais également au sommet du volcan, tout en étant également dans une de ces forêts à champignons situées à une lieue au Nord d'Allègre !Je ne comprends pas. Suis-je mort ou suis-je vivant ?Je me sens comme éclaté en des milliers de morceaux, en une multitude de fragments de moi... pourtant avec une conscience une et indivisible.Et puis, du néant surgit la lumière. Celle que j'attendais vient enfin à moi. Tout est tellement lumineux que je ne perçois plus rien. Je ne ressens plus rien non plus.Je suis prêt !Si je le pouvais, je cesserais de respirer et je fermerais les yeux. Mais ce sont désormais des sensations que je ne pourrai plus jamais ressentir !

The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial representation.Dutch seventeenth-century landscape painting has often been characterized as schilderachtig - literally: »painterly.« Referring to a certain looseness in the handling of the brush, the seemingly tautological and rarely critically discussed term also captures the idea that the landscape image »realistically« renders the, rather unassuming, idiosyncrasies of the Dutch countryside, including the often-overcast skies, moist and windy atmospheric conditions, without any aesthetic or other value judgement about the appropriateness of these motifs for a work of art. The book argues that early in the seventeenth century, however, the term had specifically rhyparographic connotations related to the proverbial Hollandse botheid (»Dutch rudeness«). In accordance, Jan van Goyen (1596-1656) and others began to depict base and even hideous aspects of the countryside not as the coincidental result of an indiscriminatory pictorial mimesis concept, but resulting from a preference for motifs of questionable »paint-worthiness« - in order, by way of contrast, to bring out the painter`s art-full representational skill per se. Schilderachtig stood for the contradictio in picturis of Hollandse botheid as a paradoxical means to evince »painterly« artifice.

In Selinon, Holle is the exiled princess of the ruling family of the ancient seafaring kingdom of Solinacea who is gradually learning to love the seaport of Selinon to which she was appointed as the Sovereign. She was ostensibly sent to the distant, isolated, and somewhat decrepit backwater port seven years previously to learn the skills of administration befitting her royal status, but was painfully aware that it was the direct result of political fallout resulting from her rejecting a suitor from the family of an important ally. Having seen her success in turning the port into a flourishing and rapidly growing hub of trade, she begins to realize that she has made it a prize worth seizing. And she is suddenly aware that the recently colonized town in the wild and treacherous country on the far side of the cliffs surrounding the seaport are also beginning to flourish under the hand of an unknown leader of the men who live there. Who is this Faolán, where did he come from, and most importantly, what are his connections to the outside world and his potential threat to her Selinon?Selinon is set in the 16th century in the mythical port of Selinon midway between Holle's home of Solinacea and distant trading destinations. As Holle learns more about Faolán, she begins to appreciate the hardships and sacrifices he and his people have gone through to succeed in taming the wild lands where so many others have attempted and failed and died. She also appreciates that he might be a formidable enemy if his intent is to be a threat to her small kingdom. His past is a mysterious mixture of combat experience, education in the natural arts, and courtly graces, hinting at some sort of elevated social status. Most disturbingly, he assumes a familiarity with her to which she is unaccustomed and from which her best friend, Elizabeth, the Apothecary, is deriving far too much amusement. Elizabeth likes and greatly respects Faolán, is intrigued by his cloak of mystery, and can see what Holle can't, that she hasn't a prayer of escaping his attractions. She just hopes it will end well for Holle and is reasonably sure her hopes are well founded. Reasonably sure.As the story unfolds, Holle's fears of losing her Selinon suddenly become a reality, not from Faolán and his men, but from an external threat to take away all of her hard work and seize the Port she has come to love. Faolán, to her utter horror, is revealed to be someone entirely unexpected and most assuredly an adversary when he is trapped with her in the web of the invasion. But even more unexpectedly, he becomes her hope for the future when they escape from their imprisonment to mount a counter attack, only to join forces with the invaders out of necessity to attempt to survive a surprise attack from a cruel and debased common enemy of both of their countries. Faolán takes control of the defense of the Port and all hangs in the balance. Holle suddenly realizes she couldn't bear to lose him if things go wrong, will have to face Elizabeth's friendly mockery if they do survive, and really and truly hopes Faolán knows what he is about.

"Grotesque and Caricature: Leonardo to Bernini examines these two genres across Renaissance and Early Modern Italy. Although their origins stem from Antiquity, it was Leonardo da Vinci's early teste caricate that injected fresh life into the tradition, greatly inspiring generations of artists. Critical among them were his Milanese followers, such as Giovanni Paolo Lomazzo, and also Michelangelo and Sebastiano del Piombo as well as, notably, Annibale Carracci, Guercino, and Bernini among others. Their artistic production-drawings, prints, paintings, and sculpture-reveals deep interest in physical, physiognomic, and psychological observations with a penchant for humour and wit. Written by an international group of established and emerging scholars, this volume explores new insights to these complementary artistic genres. Contributors include: Carlo Avilio, Ilaria Bernocchi, Christophe Brouard, Sandra Cheng, Susan Klaiber, Michael W. Kwakkelstein, Tod A. Marder, Rebecca Norris, Lucia Tantardini, Nicholas J. L. Turner, Mary Vaccaro, and Matthias Wivel"--

"The King has summoned you," for the Second Son Chronicles book #9, The Burden of Choice, from International Bestselling author Pamela Taylor.Convinced that the prizes in his long game-the riches of Aleffe Province and King Denis's great port on the Southern Sea-are now within his grasp, the Teuton king has finally shown his cards. He's confident Denis's youth and inexperience mean he'll be no match for the might of the Teuton army, especially if he can be isolated. To that end, the Teuton has already taken steps to prevent Denis's ally in the south from joining the fray. All that's left is to neutralize Alfred-and the Teuton is certain he's found the perfect way to do that.Refusing to be lured into a false choice, Alfred must nonetheless defend his realm. But as the number of lives lost in the conflict continues to mount, he finds himself troubled by the senselessness of the sacrifices brought on by one man's ambition. And he faces excruciating decisions about how to preserve his legacy and how to end the bloodshed.Will the Teuton king's strategy turn out to be brilliant or a serious miscalculation?

The lives, works and imagery of women artists, patrons and icons in Renaissance ItalyThe story of the Renaissance in Italy is often told through the work of great male artists such as Michelangelo, Raphael, Donatello and Leonardo. But what about the female half of the population? By exploring works made by, for, or about women, this book aims to reconsider a period of creative ingenuity and artistic excellence from their often-overlooked perspective.Drawing on the rich collection of paintings, ceramics, textiles, illustrated books and prints at the Museum of Fine Arts, Boston, this publication focuses on images of feminine power, both sacred and secular, telling the stories of saints such as Mary Magdalen as examples of strength and ascetic devotion, Biblical heroines such as Judith as civic and domestic role models, and the mythical sorceress Medea as the ideal of a heroic nude. Women also asserted their presence as artists, artisans and patrons: Sofonisba Anguissola, Lavinia Fontana, Artemisia Gentileschi, Vittoria Colonna, Isabella d'Este and Eleonora Gonzaga are just some of the strong women who shaped the life and art of the Italian Renaissance.

¿ ¿ ¿ ¿ ¿ "Fully action-packed, this pulls you further into Eunan and Seamus' story; making you question who to support the whole way through," - Reedsy Discovery¿¿¿¿ "Another action packed adventure filled with rich historical information about Ireland in the 16th century embedded in the storyline,""for anyone who loves GOT stories, well this has it all - including a bloody battle at a wedding ceremony," - The Historical Fiction Company¿ ¿ ¿ ¿ ¿ "a real page-turner that leaves readers wanting more,""The conflict between the Crown and natives is brilliantly and elaborately written, the characters are rock-solid and relatable, and the plot is twisty as it can get," - The Book CommentaryOne man fights to destroy his family, another to save his. Only one can be victorious.Ireland 1594. Eunan's village is destroyed, the rebellion appears over. As the forces of the English crown pillage the countryside, the rebel leader goes into hiding. Eunan's past has come back to haunt him.Eunan goes forth to seek the rebel leaders. He must take control of his family lands and turn them from supporting the crown to declaring for the rebellion.All that stands before him are the forces of the crown, the deserted ranks of the rebellion and the minor matter of his own family.Meanwhile, Seamus faces a dilemma. Consequences from the past loom large. He must save his own family, but to do so could stop the rebellion in its tracks.Who will succeed if the other needs to fail?Uprising is the second book in the epic Irish historical fiction Exiles series. It is set against the backdrop of the Elizabethan wars in Ireland in the 1590s. A world of Irish clans, their politics and the fight for supremacy, where spies and intrigue prosper, where the embers burn for a rebellion against the English crown. If you love fast-paced action and adventure orientated historical fiction then you will love this book.

March 1812 - A Swedish fishing vessel sets sail from the Polish port of Danzig (Now Gdansk) en-route for the Swedish mainland. On board, two French naval spies liaise with the boat's skipper over their mission, to spy on the British garrison stronghold on Hanö Island in preparation for a fully-fledged French invasion. The island of Hanö (pronounced Haner), located off the southern coast of Sweden, is home to a flotilla of British warships whose job it is to keep the Baltic shipping lanes open and engage any French vessels it may come across. Frustrated and angered by constant British successes at sea, the French have drawn up secret plans for an all-out attack on the island's stronghold.Arriving on the island, the two agents link up with Napoleon's spy master, a local Swede, who has been selected to oversee their mission and keep them hidden in his cabin deep in the heart of the island's extensive forest. Whilst patrolling the sea lanes Captain James Carey, commander of His Majesty's Royal Navy frigate HMS Hector, sights a French brig sailing northwards towards the Swedish coast. On engaging the French ship, the brig strikes her colours and surrenders after Hector's first salvo. The French captain is killed and on questioning the only officer of the brig left alive, James becomes suspicious believing he is not what he claims to be. Further questioning of the French lieutenant convinces the English captain that he is a spy and holding vital information pointing towards an imminent French attack on the British island garrison.A chance encounter at sea with Anna, the beautiful daughter of the fishing boat's skipper, leads James into a passionate affair where he discovers fate waiting to deal an unforeseen hand.

"Woolf's most lighthearted novel is a playful and exuberant romp through history. As a teenage nobleman, Orlando spends his days in revelry at the colorful Tudor court of Queen Elizabeth and his nights in writing earnest poetry. A favorite of the elderly queen, he falls in love with and is jilted by a wayward Russian princess. Two kings later, having reached his thirties, Orlando is sent to serve as ambassador to Constantinople, where he awakens one day to find himself in the body of a woman. The Lady Orlando takes this circumstance in stride and returns to England, where she engages in love affairs with both men and women, consorts with the famous poets of each age, finds happiness with an unconventional husband, and at last achieves publication of her own epic poem in the year 1928, the same year that Woolf published her novel. With its blend of fantastical adventure and satirical wit, Orlando was an immediate popular and critical success, one whose status as a classic has only grown with time."-- Provided by publisher.

A landmark publication on the drawings of one of the giants of the Italian Renaissance

An expansive new study that explores the wide breadth of Italian painting in the fifteenth century

La adaptaciâon grâafica del gran clâasico de nuestra literatura. Apasionado de los libros de caballerâias, el hidalgo don Quijote se cree un caballero andante y parte en busca de aventuras a lomos de su caballo Rocinante, junto a su fiel escudero Sancho Panza. Tras confundir una posada con un castillo, molinos con gigantes, y librar combates que cree herâoicos, don Quijote se enfrentarâa por fin al famoso caballero de la Blanca Luna. Incluye un dossier final donde se presenta al autor y su obra en el contexto histâorico, artâistico, literario, econâomico y social de su âepoca.

In 1458 George of Trebizond transferred the Plato-Aristotle controversy from the Byzantine world to the Latin by publishing his Comparatio Philosophorum Platonis et Aristotelis et Praestantia Aristotelis, a full-scale attack on Plato and the Platonic tradition from antiquity to the present day, ending with a violent diatribe on the dangers posed by the influence of Cardinal Bessarion's recently deceased teacher, George Gemistus Pletho. To respond, Bessarion knew that he would have to do so in Latin, but in actuality, he composed his response in Greek and then translated it into Latin. The result was the Liber Defensionum contra Obiectiones in Platonem, which was ready for publication by 1466. At that point, however, he withdrew it from publication in order to expand its content as well as to refine its Latinity. Bessarion's response finally appeared in 1469 as the In Calumniatorem Platonis. But it was in the Liber Defensionum that Bessarion made his major decisions on what to include as well as what to exclude from his original Greek text and exactly how he would render the Greek into Latin. Thus, to understand the language and structure of the In Calumniatorem Platonis one must turn first to the Liber Defensionum.