John, Malta will become the stage upon which the fate of the world turns. For one of its sons, the hand of violence strikes swiftly, when young Nicolo Borg is seized by Barbary slavers and launched on a remarkable journey to the court of the supreme ruler of the Muslim world. Renamed Asha, plotting his escape even as he swears allegiance to the god of his masters and is schooled in the arts of culture and war, the innocent boy will be transformed into one of the Sultan’s deadliest commanders. For Nico’s beloved sister, Maria, his loss fires her hatred for the knights who did nothing to save him and her dreams of escape from her stifling home. As the headstrong girl grows into a fierce beauty, she will capture the attention of one man in particular, Christien de Vries, a surgeon-knight torn between duty and desire, caught up in Malta’s frantic preparations against the coming Ottoman storm. Around Nico and Maria are men and women who will share their destinies: Dragut Raïs, a brilliant corsair, arch-rival of the knights…Giulio Salvago, a priest in full flight from his carnal nature…Alisa, a young beauty hidden away in a harem…Jean de La Valette, the master knight who is Malta’s only hope for survival.As the mighty Ottoman fleet bears down on the tiny island, as Nico Borg makes his way back to his homeland at the helm of a warship, Ironfire moves inexorably to a shattering climax where all will face ultimate justice in the murderous cauldron of siege warfare. Brilliantly capturing the crosscurrents of a storied age, Ironfire is historical fiction in the grand tradition, a stirring realization of a pivotal moment in time that irrevocably shaped the world we inhabit today.

    The noise was heard as far away as Holyrood Palace, where Queen Mary was attending a wedding masque. Those arriving at the scene of devastation found, in the garden, the naked corpses of Darnley and his valet. Neither had died in the explosion, but both bodies bore marks of strangulation.It was clear that they had been murdered and the house destroyed in an attempt to obliterate the evidence. Darnley was not a popular king-consort, but he was regarded by many as having a valid claim to the English throne. For this reason Elizabeth I had opposed his family's longstanding wish to marry him to Mary Stuart, who herself claimed to be the rightful queen of England.Alison Weir's investigation of Darnley's murder is set against one of the most dramatic periods in British history. Her conclusions shed a brilliant new light on the actions and motives of the conspirators and, in particular, the extent of Mary's own involvement.

    As seen in her two previous, highly acclaimed books-Restoration London and Dr. Johnson's London-she has immersed herself in contemporary sources of every kind. She begins with the River Thames, the lifeblood of Elizabethan London. The city, on the north bank of the river, was still largely confined within old Roman walls. Upriver at Westminster were the royal palaces, and between them and the crowded city the mansions of the great and the good commanded the river frontage. She shows us the interior décor of the rich and the not-so-rich, and what they were likely to be growing in their gardens. Then the Londoners of the time take the stage, in all their amazing finery. Plague, small-pox, and other diseases afflicted them. But food and drink, sex and marriage and family life provided comfort, a good education was always useful, and cares could be forgotten in a playhouse or the bear-baiting rings, or watching a good cockfight. Liza Picard's wonderfully skillful and vivid evocation of the London of four hundred years ago enables us to share the delights, as well as the horrors, of the everyday lives of sixteenth century Britain.

    Neil Hanson — acclaimed author of The Great Fire of London — traces the origins of the conflict from the Old World to the New, delineating the Armada campaign in rousing prose. He illuminates the lives of kings and popes, spymasters and assassins, military commanders and common sailors, and the ordinary men and women caught up in this great event when the fate of nations hung in the balance. The Confident Hope of a Miracle is authentic and original history written with the pace and drama of a novel.

    Known as the creator of disturbing demons and spectacular hellscapes, he also painted the Garden of Earthly Delights, where gleeful naked youths feast on giant strawberries. Little is known of Bosch's life and his art has remained enigmatic, variously interpreted as the hallucinations of a madman or the secret language of a heretical sect.The Surrealists claimed Bosch as a predecessor, seeing in his work the imagery of dream, fantasy and the subconscious. Laurinda Dixon argues, however, that to understand and appreciate the art of Bosch, we must return to the era in which he lived. Dixon presents Bosch as an artist of his times, knowledgeable about the latest techniques of painting, active in the religious life of his community and conversant with the scientific developments of his day. She draws on popular culture, religious texts and contemporary medicine, astrology, astronomy and alchemy - now discounted but then of interest to serious thinkers - in order to investigate the underlying meaning of Bosch's art.

    These historical novels are told in high drama, but with great respect for God's word and for the people who translated it.

    Wonderfully written biographies and illustrations of Saints Lucy, Monica, Augustine, Benedict, Francis Xavier, Edith Stein, Juan Diego, Katharine Drexel, and many others. Each story highlights a saint or related saints in a short-story format. The stories are organized chronologically and include biographical information and the saints' feast days. Many stories also include wonderful illustrations of the profiled saints. The stories are written in lively, accessible language and each conclude with a summary thought or reflection. Perfect for intermediate readers and school or church libraries. Ages 8-12

    Based on a wide variety of manuscript and printed sources from local and central repositories, it focuses on the social framework within which historical knowledge was generated, modified, and preserved, rather than on historiography or historical method. Woolf begins his study by examining the ways in which early modern people acclimatized themselves to accelerating changes in their physical, social, religious, and economic environments. A developing, if uneasy, accommodation to change went hand in hand with shifting attitudes to the acceptability of novelty and innovation. The family was the central social unit throughout most of this time, and Woolf examines views of ancestry and heredity with a particular emphasis on the circulation of genealogical knowledge and its status relative to other forms of knowledge about the past.