It is almost midnight and the cream of the English nobility hold their breath as King Henry VIII prepares to face his God. As the royal physicians wring their hands and Archbishop Cranmer gallops through the frigid night, two dispossessed princesses pray for their father’s soul and a boy, soon to be king, snivels into his velvet sleeve. Time slows, and dread settles around the royal bed, the candles dip and something stirs in the darkness … something, or someone, who has come to tell the king it is time to pay his dues. The Kiss of the Concubine is the story of Anne Boleyn, second of Henry VIII’s queens.

    But what makes Schmidt even more compelling to us is his day job. For forty-five years, Schmidt was an efficient and prolific public executioner, employed by the state to extract confessions and put convicted criminals to death. In his years of service, he executed 361 people and tortured, flogged, or disfigured hundreds more. Is it possible that a man who practiced such cruelty could also be insightful, compassionate, humane—even progressive? In his groundbreaking book, the historian Joel F. Harrington looks for the answer in Schmidt’s journal, whose immense significance has been ignored until now. Harrington uncovers details of Schmidt’s medical practice, his marriage to a woman ten years older than him, his efforts at penal reform, his almost touching obsession with social status, and most of all his conflicted relationship with his own craft and the growing sense that it could not be squared with his faith. A biography of an ordinary man struggling for his soul, The Faithful Executioner is also an unparalleled portrait of Europe on the cusp of modernity, yet riven by conflict and encumbered by paranoia, superstition, and abuses of power. In his intimate portrait of a Nuremberg executioner, Harrington also sheds light on our own fraught historical moment.

    Given the scarcity of surviving garments, it also tells us most of what we know about Tudor and Stuart dress. We’re all familiar with the stockings, voluminous breeches, and elaborate lace ruffs, but did you know that the clothing seen in many of these paintings cost more than the paintings themselves? For In Fine Style, Anna Reynolds, curator of paintings at the Royal Collection, has drawn on the art of the period, as well as wardrobe inventories, literary references, contemporary accounts, and surviving garments to offer a fascinating account of the elite fashions of the day and the ways in which they were recreated in paint. The gold threads seen throughout the forepart of Elizabeth’s gown were costly, while the red dye that colored it came from crushed beetles and would have had to have been imported from Spain. Other works show their subjects with intricate ruffs, bright stockings, or broad farthingales, each item extravagantly adorned. Indeed, the main focus of Tudor and Stuart clothing was on rich materials that communicated the ability of the wearer to afford them, and, with the rise of the moneyed merchant class, sumptuary laws were established to limit their use to the nobility. Other forms of attire, including ornate hairdos held in place with wire and pleats that had to be set each time the garment was worn left absolutely no doubt as to the fact that the wearer had an army of servants and a wealth of spare time with which to attend to appearance. Published to accompany an exhibition that will open at Buckingham Palace in May, In Fine Style features works by, among many others, Rembrandt, Rubens, Lely, and Holbein, and is the first book to examine Tudor and Stuart fashion through the use of art.

    His father, John Dudley, saw his own father executed by Henry VIII when he ascended the throne, and suffered ignominy and obscurity as a result. But John is determined to rise high and see his family restored to its former glorious position. He places his sons in the Royal Household, and Robert spends his childhood years at the Royal Court, as playmate to King Henry's children, Prince Edward and the Lady Elizabeth. Robert sees his father gain power and influence, becoming the young King Edward VI's most important courtier. But when John tries to make his daughter-in-law, Lady Jane Grey, queen,the Catholic Mary Tudor proves she has the support of the people, and John is forced to renounce Jane and proclaim Mary queen. For their part in the Nine Days Queen affair, John and his sons are imprisoned in the Tower of London, to await trial and probable execution. Forced to admit that he erred in his belief in the New Religion, Protestantism, John, along with his son, Guildford who married Jane Grey, are executed, having their heads cut off on Tower Hill. One more brother dies of illness, and Queen Mary shows mercy and releases the remaining three brothers. Robert becomes desperate to restore the family's name and fortune, and persuades his brothers to join Queen Mary's husband, King Philip of Spain, in a war against the French. In France, the youngest Dudley brother, Henry, is killed, but Robert is mentioned in despatches as having fought valiantly, and the taint of attainder is removed from the Dudley family name. The Dudleys are not considered traitors any longer. But Robert is still not wanted at court, and he is forced to leave London and settle down with his wife, Amy Robsart, in Norfolk. But he soon grows tired of both the country and his wife, and hopes one day to be able to return to the court. His chance comes when Queen Mary dies and Elizabeth Tudor becomes queen. Abandoning his wife, Robert rushes to her side. Elizabeth soon falls in love with Robert, and sordid rumours spread throughout Europe about their relationship, made worse when Robert's wife dies in mysterious circumstances, and he is suspected of having her murdered. Exiled from the court, Robert has to wait in the country for the coroner's court to return a verdict of Accidental Death before Elizabeth allows him to return to her. Robert is now a free man, but Elizabeth, ever fearful of relinquishing her power, and haunted by the beheadings of her mother, Anne Boleyn, and her stepmother, Katherine Howard, will not agree to marry him, while jealously keeping him by her side. But Robert keeps hoping, and with his heart set on becoming king, he is forced to live a double life, keeping his mistress and illegitimate son secret to avoid Elizabeth's wrath. Until he falls in love with Elizabeth's cousin, the pretty and seductive, Lettice. Lettice demands marriage when she becomes pregnant, and Robert, tired of waiting for Elizabeth and wanting an heir to carry on the Dudley name, agrees. Meanwhile, his growing reputation as politician and staunch Protestant, means that Europe looks to him to solve their religious and territorial problems. Ever eager to improve his reputation and to prove that he is more than Elizabeth's favourite, he launches himself into war in the Netherlands, and is finally offered the governorship of the Dutch, making him a king in all but name. He accepts the Dutch offer but when Elizabeth hears of it, she is furious and insists that he renounce the title. Robert is forced to make a humiliating exit. He returns to England, disappointed and broken in body. Forced to become a soldier again when the Spanish launch their Armada, Robert is too ill to celebrate the English victory and dies en route to taking the spa waters at Buxton. When Elizabeth hears the news, she looks herself away in her room to grieve alone.

    If he fails, he'll be charged with the crime himself. The mob just wants a murderer, after all, and he's as likely to have done it as any man.But James Enys isn't the man they think he is. Aided by a certain bald young playwright (with a sonnet to write) who knows his secret, the lawyer finds that he must follow the trail of evidence into the closed world of Elizabethan women, where no man could venture. Only a woman would be welcome here.It is fortunate indeed that Mr Enys has a sister. She is as intelligent as he is, and resembles him in both appearance and manner. Except, of course, that she is a woman, which in Elizabethan times, means that her opportunities are restricted. In fact, James Enys's sister is never seen in public at the same time as he is - but only Shakespeare has guessed the truth about the quiet, determined, ambitious young lawyer with a knack of seeing beneath the surface.Patricia Finney has written more than twenty novels, many of them set in Elizabethan England. This is the first of the James Enys mysteries, and the next will be coming soon from Climbing Tree Books.

    The result is the most authoritative, most comprehensive book yet written on speaking Shakespeare’s words.Throughout the book, the author subjects Shakespeare’s language to rigorous examination, illuminating his extraordinary ability to bring his characters to life by a simple turn of phrase, a breath or even a pause. Block shows how we can only fully understand these characters, and the meaning of the plays, by speaking the words out loud.Drawing on characters from across all of Shakespeare’s plays – and looking in detail at Macbeth, The Winter’s Tale, Hamlet, The Merchant of Venice and Much Ado About Nothing – Block covers everything the actor needs to know, including: the essential distinctions between prose, rhymed verse and unrhymed verse, and the different strategies to be used when speaking them; the difference between ‘you’ and ‘thou’; Shakespeare’s use of silence; and the vital importance of paying attention to Shakespeare’s ‘original’ punctuation.Speaking the Speech is a book for actors and directors who want to improve their understanding of Shakespeare’s language in order to speak it better. It is also a fascinating read for anyone who wants to deepen their appreciation of Shakespeare’s language and the way it comes to life when spoken aloud.

    Bridget Manning is forced to leave the safety and tranquillity of her home at Rivers Abbey in order to join the household of the queen, Anne Boleyn. Once there she enters a world seething with intrigue and plots against her new mistress. Will Bridget be able to navigate her way through the dangerous maze of the court or will it destroy her as it is destroying her queen?

    Matteo da Fermo must make that journey, compelled by a duty of revenge. His path takes him into the dark heart of Renaissance Italy. We watch him transform from dreamy, lovelorn adolescent to courageous soldier and nerveless spy. We move from army camps and besieged hilltop towns to noble palaces and the glittering decadence of papal Rome. Along the way, Matteo meets brutal assassins, devious courtesans, flamboyant cardinals, and a rich cast of historical characters, including Niccolò Machiavelli and Leonardo da Vinci. While negotiating this vivid and colorful world, Matteo is also charting his way through the equally treacherous landscape of love and desire, forced to balance his feelings for his childhood sweetheart Nicolosa with the dangerous attractions of the women who form part of his dangerous odyssey. The most fascinating of these is Felice della Rovere, daughter and spymaster to his patron Cardinal Giuliano della Rovere, a woman “whom the devil seemed to have sent to this earth specifically to bring him to grief.”Set during the time when Cesare Borgia was ruthlessly exploiting his father’s papal authority to carve out a new empire in central Italy, The Subtlest Soul crafts a colorful and enthralling panorama of life in this remarkable era.

    The book is illustrated with sumptuous reproductions of paintings from museum collections, specially commissioned photographs of reconstructed, and detailed drawings and diagrams showing styles appropriate to different ranks and eras from 1485 to 1625.

    However, all that is left of this vast tradition of lyrical verse are fewer than 200 poems, most contained in three codices written just after the Spanish conquest. In this new translation, David Bowles employs the tools of English verse to craft accessible, powerful versions of selected songs from the Aztec and Mayan civilizations, striking a balance between the features of the original performance and the expectations of modern readers of poetry. With full-color illustrations, a thorough glossary and insightful introduction, Flower, Song, Dance brings a neglected literary tradition to life for the 21st-century.

    Yet, surprisingly, few if any of their ferocious African wars are known to English-speaking readers. In this impeccably researched and spellbinding new book, John Leband seeks to redress this imbalance expertly recalling this remarkable saga in full.

    What he found, or rather, what found him, is an entirely different story. When a pair of ancient Arawak tomes are unearthed on the island of Camahogne, their discovery sets off a chain of events never recorded in the traditional annals of history.Word of this revelation soon reaches Jeringas Mortifer, the malevolent king of the mainland south, who long desired to find the tomes of the lost prophecy and unlock the secrets of the scripture for himself. To recover them, the king sends forth his most harrowing servant - a mysterious being older than all of human history, with terrifying powers and an agenda of his own.Shortly after the birth of his first son, Captain Thomas has a chance encounter with a local fortune teller, who confides that his family is at the very center of the unfolding lost prophecy. While a skeptical Pieter initially dismisses her claim as primitive folklore, he is dangerously unaware of the many pieces in play, and that the hunt for his infant son had already begun.Beautifully composed and amazingly descriptive, Cimmerian Rising is a heart pounding adventure over exotic lands and faraway seas. Intentionally styled as a complete departure from the standard formulaic narrative and written in high definition, Cimmerian Rising will utterly transport you into another world and a forgotten time, arriving at the very colorful genesis of Eternidad.

    This map reveals medieval London at its most impressive, before the city was overwhelmed by a massive population explosion.

    However, the lives and careers of these women are largely unknown beyond the region and have never been investigated as a group or in the context of female rule. This survey of Navarre's queens finally fills this scholarly lacuna by focusing on issues of female succession, matrimonial politics, agency, patronage, and the power-sharing dynamic between the queens and their male consorts. It also highlights the importance of Navarre to major political events of the era and traces these queens' connections to other female European rulers, including Isabel of Castile and Giovanna II of Naples.

    But that artist fell into obscurity for one reason - she was a woman. Sofonisba Anguissola's abilities as a painter, evident while still in her mid-teens, combined with her father's promotional efforts, made her well known in her native northern Italy. That fame led to a position as a lady-in-waiting to the young wife of King Philip II of Spain. Portrait in Black and Gold takes the reader through the triumphs and tragedies that Anguissola witnessed at Philip's dazzling but troubled court. The novel spans Anguissola's life all the way to her 90s, when Anthony Van Dyck sought her out in plague-ravaged Sicily. An epilogue explains how and why Anguissola and other women artists were ignored by art historians. The novel is a rich and rewarding read. The book moves at a brisk, engaging pace, and the story is enriched by spirited dialogue and imagined letters and journal entries.

    By examining the life and works of a bureaucrat, Celalzade Mustafa, ahin moves beyond traditional, teleological approaches and argues that the empire was built as part of the Eurasian momentum of empire building, and demonstrates the imperial vision of sixteenth-century Ottomans. This unique study shows that, in contrast with many Eurocentric views, the Ottomans were active players in European politics, with an imperial culture in direct competition with that of the Habsburgs and the Safavids. Indeed, this book explains Ottoman empire building with reference to the larger Eurasian context, from Tudor England to Mughal India, contextualizing such issues as state formation, imperial policy, and empire building in the period more generally. ahin's work also devotes significant attention to the often-ignored religious dimension of the Ottoman-Safavid struggle, showing how the rivalry redefined Sunni and Shiite Islam, laying the foundations for today's religious tensions.

    Andy Wood charts how custom and popular memory generated a usable past that legitimated claims to rights, space, and resources in the present.

    The book also addresses the enduring mythology surrounding these women, relating captivating tales that uncover much about Renaissance modes of argument, symbols, and values, as well as our own modern preoccupations.