Though their household is in economic chaos, thankfully the lessons she learned in his studio have prepared her to study with Johannes Vermeer, the master of Delft. When she arrives to begin her apprenticeship, Francesca is stunned to find rules, written in her father’s hand, insisting that she give up the freedoms she once enjoyed at home- including her friendship with Pieter van Doorne, a tulip merchant. Unaware of a terrible bargain her father has made against her future, Francesca pursues her growing affection for Pieter even as she learns to paint like Vermeer, in layers of light. As her talent blooms, “tulip mania” sweeps the land, and fortunes are being made on a single bulb. What seems like a boon for Pieter instead reveals the extent of the betrayal of Francesca’s father. And as the two learn the true nature of the obstacles in their path, a patron of Francesca’s father determines to do anything in his power to ensure she stays within the limits that have been set for her.The Golden Tulip brings one of the most exciting periods of Dutch history alive, creating a page-turning novel that is as vivid and unforgettable as a Vermeer painting.

    The first is to present in a new English translation 255 representative hokku (or haiku) poems of Matsuo Basho (1644-94), the Japanese poet who is generally considered the most influential figure in the history of the genre. The second is to make available in English a wide spectrum of Japanese critical commentary on the poems over the last three hundred years.

    In fact, many of the Founders and their children learned to read from the Primer. This pocket-size edition is an historical reprint of the 1777 version used in many schools during the Founding Era.

    All the English and Italian verse, and most of the Latin and Greek is included, as is a generous selection of his major prose works. The poems are arranged in order of publication, essential in enabling the reader to understand the progress of Milton's career in relation to the political and religious upheavals of his time. The extensive notes on the text cover syntax, vocabulary, historical context, and classical and biblical references. The Introduction traces both Milton's changing conception of his own vocation, and the critical reception his work has received over the past three centuries.

    Rothenberg"[A] highly scholarly and wonderfully absorbing study." --John Bayley, The London Review of Books"What Russell F. Weigley writes, the rest of us read. The Age of Battles is a persuasive reminder that even in the age of 'rational' warfare, one can honestly wonder why war seemed an unavoidable policy choice." --Allan R. Millett, The Journal of American History

    (Dumas pere turned this actual historical incident into the famous novel.) Here, both Louis and the mysterious prisoner are dead when Ralph Croft, master forger, is plucked from the Bastille and enlisted by the French regent to determine the masked man's identity. Working with murderous musketeer D'Estrivet and royal archivist Maurepas, he uncovers a web of intrigue that involves plots against the crown, the Knights Templar and a fallen finance minister. There are even occasional winking references to those other famous Dumas characters, the Three Musketeers. Doherty's exposition of the historical record is often clumsy, and he cannot resist letting Croft somewhat anachronistically ponder the fate of the ancien regime. Still, it's all good fun--even if the author's tongue is planted firmly in his cheek.

    This war brought about radical changes in the sizes and the associated costs of the armies of Britain, France, Austria and the United Provinces in a relatively short period. For example, the size of field armies grew from an average of about 25,000 men during the Thirty Years' War to an average of about 100,000 men in 1695 during the Nine Years War. The costs of sustaining such huge field forces in terms of food, equipment and pay brought Britain and France, in particular, fiscal crisis and a shattered economy respectively, after the peace.

    He has been seen as a shrewd and resourceful politician whoes great indolence and frivolity were only a facade.

    The author looks at the types of people who formed collections, from the harmless eccentrics to the wily speculators, and examines what they collected and why. He develops an historical anthropology of collecting and sheds new light upon the genesis of the modern museum. Pomian charts the changes in fashion which characterized the world of collecting, arguing that such shifts can be seen as a sign of wider and more profound changes in mentality and can be analyzed in terms of a conflict between aesthetic and historical sensibilities.