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When she arrives in the middle of a political uproar, she'll change the course of history for an entire kingdom... Alys of Lochlainn longs to be free to marry whomever she wants. Unwillingly caught up in the fearsome Earl of Hampton's plans, she's furious after he betroths her to the man he plots to install as the King of England. But as the men prepare for battle and the wedding preparations move forward, the fiery Irish heiress's world upends when the scheming earl steals an impulsive kiss. Quickly falling for the formidable lord, Alys recklessly becomes his mistress, annulling the upcoming nuptials. But when her status rises as the powerful man's beloved, she will do everything she can to protect him now that he holds her heart... Will Alys survive the dangerous climb to the top of a monarchy? White Rose is the emotionally charged first book in the Lochlainn medieval historical series. If you like strong women, pulse-pounding royal intrigue, and love found amidst turmoil, then you'll adore Augusta Gosling's feisty tale of romance and war.

The captivating new historical novel from Alison Weir, Sunday Times bestselling author of the Six Tudor Queens series . 'With Elizabeth of York, Alison Weir gives us her most compelling heroine yet... This is where the story of the Tudors begins and is historical fiction at its absolute best' TRACY BORMAN'One of the great women of history... History has the best stories and they should all be told like this' CONN IGGULDEN--- Mother. Survivor. Queen. ---AN ENGLISH PRINCESS, BORN INTO A WAR BETWEEN TWO FAMILIES.Eldest daughter of the royal House of York, Elizabeth dreams of a crown to call her own. But when her beloved father, King Edward, dies suddenly, her destiny is rewritten.Her family's enemies close in. Two young princes are murdered in the Tower. Then her uncle seizes power - and vows to make Elizabeth his queen.But another claimant seeks the throne, the upstart son of the rival royal House of Lancaster. Marriage to this Henry Tudor would unite the white rose of York and the red of Lancaster - and change everything.A great new age awaits. Now Elizabeth must choose her allies - and husband - wisely, and fight for her right to rule. ---PRAISE FOR THE SIX TUDOR QUEENS SERIES:'This series is a serious achievement' The Times'Weir is excellent on the little details that bring a world to life' Guardian'This brilliant series has brought Henry VIII's six wives to life as never before' Tracy Borman 'Profoundly moving... lingers long after the last page' Elizabeth Fremantle'Well researched and engrossing' Good Housekeeping'Vivid characters and a wonderful sense of time and place' Barbara Erskine'Hugely enjoyable . . . Alison Weir knows her subject and has a knack for the telling and textural detail' Daily Mail

The life-like depiction of the body became a central interest and defining characteristic of the European Early Modern period that coincided with the establishment of which images of the body were to be considered `decent¿ and representable, and which disapproved, censored, or prohibited. Simultaneously, artists and the public became increasingly interested in the depiction of specific body parts or excretions. This book explores the concept of indecency and its relation to the human body across drawings, prints, paintings, sculptures, and texts. The ten essays investigate questions raised by such objects about practices and social norms regarding the body, and they look at the particular function of those artworks within this discourse. The heterogeneous media, genres, and historical contexts north and south of the Alps studied by the authors demonstrate how the alleged indecency clashed with artistic intentions and challenges traditional paradigms of the historiography of Early Modern visual culture.

The story of the 'long Renaissance' for a new generation-from Giotto and Dante in thirteenth-century Italy, to the English literary Renaissance in the first half of the seventeenth century.

When her parents die in a terrible tragedy, Neva is adopted by an eccentric clock and automata maker who devises a machine to help her when she discovers she has a gift that will prove to be as dangerous as it is desirable: she can predict the weather. Now Neva must find a way to disguise her true identity from those who would destroy her.

In a race across Nazi-occupied Italy, two women?a German photographer and an American stenographer?hunt for priceless masterpieces looted from the Florentine art collections.In the summer of 1943, Eva Brunner is taking photographs of Nazi-looted art hidden in the salt mines of the Austrian hinterland. Across the ocean in Connecticut, Josephine Evans is working as a humble typist at the Yale Art Gallery.When both women are called to Italy to contribute to the war effort, neither imagines she will hold the fate of some of the world's greatest masterpieces torn from the Uffizi Galleries and other Florentine art collections in her hands.But as Italy turns from ally to enemy and Hitler's plan to destroy irreplaceable monuments and works of art becomes frighteningly clear, each woman's race against the clock?and against one another?might demand more than they were prepared to give.The Last Masterpiece takes readers on a heart-pumping adventure up the Italian peninsula, where nothing is as it seems and some of the greatest works of art and human achievement are at stake. Who might steal and who might save a work of art?and at what cost?Inspired by the incredible true story of the Monuments Women, the Fifth Army WACs, and the looted Florentine art collections during World War II, the latest historical novel by USA Today bestselling author and art historian Laura Morelli plunges readers into the heart of war-torn Italy.

"Young Henry began his rule as a magnificent and chivalrous Renaissance prince who embodied every virtue. He had all the qualities to make a triumph of his kingship, yet we remember only the violence. Henry famously broke with the Pope, founding the Church of England and launching a religious revolution that divided his kingdom. He beheaded two of his wives and cast aside two others. He died a suspicious, obese, disease-riddled tyrant, old before his time. His reign is remembered as one of dangerous intrigue and bloodshed-and yet the truth is far more complex. The King's Pleasure brings to life the idealistic monarch who expanded Parliament, founded the Royal Navy, modernized medical training, composed music and poetry, and patronized the arts. A passionate man in search of true love, he was stymied by the imperative to produce a male heir, as much a victim of circumstance as his unhappy wives. Had fate been kinder to him, the history of England would have been very different. Here is the story of the private man. To his contemporaries, he was a great king, a legend in his own lifetime. And he left an extraordinary legacy--a modern Britain"--

"In Landscape and Authority in the Early Modern World, contributors explore the role of landscape in the articulation and expression of imperial identity and the mediation of relationships between the court and its many audiences in the early modern world. Nine focused studies from East andSouth Asia, the Islamic world, and Europe illuminate how early modern courts and societies shaped, and were shaped by, the landscape, including both physical sites, such as gardens, palaces, cities and hunting parks, and conceptual ones, such as those of frontiers, idealized polities, and the cosmos"--

Nicholas Hilliard (1547-1619) was a trusted member of the court and favourite of Queen Elizabeth I. He illuminated various charters and legal documents as well as painting portraits of the queen and many of his contemporaries. From the 1580s onwards HIliard portrayed the queen either as Cynthea - Virgin Goddess of the Moon, or as the perpetually young Astrea - Virgin Goddess of the Golden Age. These miniature portraits reinforced the idea that England's queen was, and would remain unmarried. However, is there more than propaganda regarding the queen's chastity behind these portraits of Elizabeth I? This novel tells Hilliard's own story through some of the portraits he created for his patrons and interprets the symbols and emblems these paintings contain. From the time he was introduced to Elizabeth I in 1572, I explore the great events that happened between 1572 and 1588 as seen through his eyes. The title is a quote from Hilliard's draft treatise of 1598, but is it purely a reference to his extraordinary ability to capture his sitter's likeness? His portrait of a young man holding a hand coming from a cloud (in the Victoria and Albert Museum in London) has long puzzled historians and art historians, and I am but one in a long line of those who have theories as to the meaning behind the motto, Attici Amoris Ergo. I believe the answer also lies in comparing this portrait with Hilliard's portrait of Elizabeth I painted in 1572 and the many he created of Robert Dudley, Earl of Leicester - for that you can go online and look at the portraits for yourself. These are listed at the back of the book. As a great friend of mine who is a forensic scientist, said, "You can't beat genetics!"

While Venice is better known for soft light and atmospheric painters, this elegant new volume transforms our understanding of Venetian sculpture and its place in the city’s artistic tradition.A feast for the eyes and an entertaining, erudite read, this book opens with an illustrated survey of the 120 doges who led the Venetian Republic before continuing with a detailed survey of the incredible array of sculptures and monuments that memorialize them.Although celebrated for painting and music, Venice has a sculptural tradition that was overshadowed by Florence and Rome. Based on new scholarship, this volume reveals the true magnificence of six centuries of Venetian sculpture. With the oldest works dating to the thirteenth century, these masterpieces fill the city’s churches and include pieces by great masters from the Lombardo family to Antonio Rizzo, Jacopo Sansovino, Alessandro Vittoria, and Baldassare Longhena.The sculptural marvels of Venice tell the story of a procession of doges—politicians, scholars, conquerors, merchants, and even a saint, Pietro Orseolo—over a thousand-year history. Engaging text highlights the adventurous, eventful, and sometimes glorious lives of these legendary figures, while the newly commissioned photography showcases the grandeur and beauty of a neglected aspect of Venice’s cultural history.

Albrecht Dürer was an intense observer of the worlds of manufacture, design and trade that he encountered in his home city of Nuremberg and on his travels. This catalogue accompanies the first exhibition of the Whitworth's outstanding Dürer collection in over half a century. In ten essays and thematic texts, it juxtaposes Dürer's celebrated woodcuts, engravings and etchings with objects from his time, ranging from a humble pair of scissors to astounding examples of German Renaissance metalwork, book printing, ceramics and textile manufacture. Leading scholars offer insight into how a changing material world, shaped by expanding European and global networks, helped spark artistic creativity and major innovations in design and craft in Dürer's Nuremberg and beyond. The catalogue also includes an in-depth study of the Whitworth's recently restored pietà sculpture and brings a new perspective to the role that local collectors - many involved in trade, industry and design - played in amassing one of the most significant holdings of this artist's graphic work in the United Kingdom.

Based on a lifetime's work in the field, Sir Roy Strong offers an expert and engaging new look at portrait painting in Stuart England, studying the sitters as much as the artists.Sir Roy Strong has been writing for over half a century on the painters of the courts of James I and Charles I. While taking account of the mass of scholarly work that has appeared during that time, this book offers a very different approach to the subject. Until now, the universal method has been to look at the artists, in particular van Dyck, and to see half a century of painting through the six years when the latter was in England. Instead, we are offered a view based on portraits and their sitters, and particularly on the dramatic change in their attitudes, from the still medieval (if Protestant) aesthetic of the Elizabethan age to the ambiguity of one which replaced that aesthetic by one based on the Catholic baroque of European art.Portraits after all are permanent records of how a sitter wished to be seen by posterity as well as in his or her own period. The obsession with the painter and with attribution has tended to obscure that very basic fact. They are inevitably self-fashioning images that chart the new mythology not only of a new dynasty, the Stuarts, but also of a burgeoning and assertive aristocracy. Unlike their spectacular court masques, however, which were gone in an evening of glory, the portraits are still with us - or, rather, those that have survived. Through them we are able to trace a new iconography for a new dynasty and also an aesthetic revolution which moved away from the Elizabethan world of ambiguity and hieroglyphs to one set in space defined by the new optics of the Renaissance. But the title, The Stuart Image, is designed to emphasise that above all what we see is the image and not the reality.

A poetic new essay collection in which the symbols of the tarot brush up against life in a changing world. The Tarot de Marseille is a 16th-century set of playing cards, the deck on which the occult use of tarot was originally based. When Jessica Friedmann bought her first pack, the unfamiliar images sparked a deep immersion in the art, symbols, myths, and misrepresentations of Renaissance-era tarot. Over the years that followed, and as tarot became a part of her daily rhythm, Friedmann's life was touched by floods and by drought, by devastating fires and a pandemic, creating an environment in which the only constant was change. Twenty-Two Impressions: notes from the Major Arcana uses the Tarot de Marseille as a touchstone, blending historical research, art history, and critical insights with personal reflections. In these essays, Friedmann demonstrates how the cards of the Major Arcana can be used as a lens through which to examine the unexpectedness - and subtle beauty - of 21st-century life.

The Cuckold's Bride is an immersive and fast-paced novel of murder, science, and the best and worst of human nature, which takes the reader into the heart of Elizabethan England.

In the Remixed Classics series, authors from marginalized backgrounds reinterpret classic works through their own cultural lens to subvert the overwhelming cishet, white, and male canon. Queer star-crossed love amid a centuries-old feud takes center stage in this Romeo & Juliet remix that knows sometimes, the best way is to make it gay.Verona, Italy. Seventeen-year-old aspiring artist Romeo dreams of a quiet life with someone who loves him just as he is. But as the heir to the Montague family, he is expected to give up his "womanly" artistic pursuits and uphold the family honor-particularly in their centuries-old blood feud with a rival family, the Capulets. Worse still, he is also expected to marry a well-bred girl approved by his parents and produce heirs. But the more Romeo is forced to mingle with eligible maidens, the harder it is to keep his deepest secret: He only feels attracted to other boys.In an attempt to forget his troubles for just one night, Romeo joins his cousin in sneaking into a Capulet party. During a fateful encounter in the garden, he meets the kindest, most beautiful boy he's ever met, and is shocked to learn he's Valentine, the younger brother of one of his closest friends. He is even more shocked to discover that Valentine is just as enamored with Romeo as Romeo is with him.So begins a tender romance that the boys must hide from their families and friends, each of them longing for a world where they could be together without fear. And as the conflict between the Montagues and Capulets escalates out of control, Romeo and Valentine find themselves in danger of losing each other forever-if not by society's scorn, then by the edge of a blade.The Remixed Classics SeriesA Clash of Steel: A Treasure Island Remix by C.B. LeeSo Many Beginnings: A Little Women Remix by Bethany C. MorrowTravelers Along the Way: A Robin Hood Remix by Aminah Mae SafiWhat Souls Are Made Of: A Wuthering Heights Remix by Tasha SuriSelf-Made Boys: A Great Gatsby Remix by Anna-Marie McLemoreMy Dear Henry: A Jekyll & Hyde Remix by Kalynn BayronTeach the Torches to Burn: A Romeo & Juliet Remix by Caleb RoehrigInto the Bright Open: A Secret Garden Remix by Cherie DimalineMost Ardently: A Pride & Prejudice Remix by Gabe Cole Novoa