She is set aside for a political marriage when Harold becomes king in 1066. Determined to protect her children's destinies and control her economic future, she is taken to William's camp when her estate is sacked on the eve of the Battle of Hastings. She later identifies Harold's body on the battlefield and her youngest son becomes a Norman hostage. Elditha avoids an arranged marriage with a Breton knight by which her son might or might not be given into his care. She makes her own choice and sets out through strife-torn England to seek help from her sons in Dublin. However, events again overtake her. Harold's mother, Gytha, holds up in her city of Exeter with other aristocratic women, including Elditha's eldest daughter. The girl is at risk, drawing Elditha back to Exeter and resistance. Initially supported by Exeter's burghers the women withstand William's siege. However, after three horrific weeks they negotiate exile and the removal of their treasure. Elditha takes sanctuary in a convent where eventually she is reunited with her hostage son. This is an adventure story of love, loss, survival and reconciliation.

    On one side stood the shield-wall of the expanding kingdom of the Anglo-Saxons. On the other side stood a remarkable alliance of rival kings – at least two from across the sea – who'd come together to destroy them once and for all. The stakes were no less than the survival of the dream that would become England. The armies were massive. The violence, when it began, was enough to shock a violent age. Brunanburh may not today have the fame of Hastings, Crécy or Agincourt, but those later battles, fought for England, would not exist were it not for the blood spilled this day. Generations later it was still called, quite simply, the 'great battle'. But for centuries, its location has been lost. Today, an extraordinary effort, uniting enthusiasts, historians, archaeologists, linguists, and other researchers – amateurs and professionals, experienced and inexperienced alike – may well have found the site of the long-lost battle of Brunanburh, over a thousand years after its bloodied fields witnessed history. This groundbreaking new book tells the story of this remarkable discovery and delves into why and how the battle happened. Most importantly, though, it is about the men who fought and died at Brunanburh, and how much this forgotten struggle can tell us about who we are and how we relate to our past.

    From secret passageways to ghostly encounters. From Broadway debuts to landmark productions. Score a front row seat to hear hundreds of stories about the most important stages in the world, seen through the eyes of the producers, actors, stage hands, writers, musicians, company managers, dressers, designers, directors, ushers, and door men who bring The Great White Way to life each night. You'll never look at Broadway the same way again. This is the first book in a multi-volume series that will tell the stories of all of the Broadway houses. Volume 1 includes theWinter Garden, the Richard Rodgers, the Marriott Marquis, the Al Hirschfeld, the Neil Simon, the August Wilson, the Mark Hellinger, and the Lyceum: eight Broadway theaters that light up New York City."

    A visual representation of an extraordinary artistic career, that simultaenously brings to life the spirit of a whole era.The author: Daniel Wildenstein (1917-2001) was an art historian and member of the Académie des Beaux-Arts (Paris). From 1939 onwards, he was Director of the Wildenstein Galleries of New York, London, and Tokyo. He edited several international journals, e.g. the magazine Arts from 1956-1962 and the Gazette des Beaux-Arts after 1963. He co-founded the Fondation Wildenstein in 1970 (it was renamed the Wildenstein Institute in 1984), and was a prime mover in many exhibitions of international repute. Daniel Wildenstein also edited the catalogues raisonnés of various 18th, 19th, and 20th century artists. He was a world authority on Impressionism, and published catalogues of the works of Gauguin, Manet, and Monet.

    Their relationship continued until 1601, when the Earl of Essex was beheaded for treason. And, in a succession of brilliant scenes, Strachey portrays the Queen's and the Earl's compelling attraction for on another, their impassioned disagreements, and their mutual contest for power, which led to a final, tragic confrontation. Here we also have superb portraits of influential people of the time: Francis Bacon, Robert Cecil, Walter Raleigh, and other figures of the court who struggled to assert themselves in a kingdom that was primarily defined by her sovereign, and so now seen through history's lens as Elizabethan England.

    

    The photographs are richly supplemented by detailed commentary and illustrations.

    Americans came late to the game of art collecting and raced to catch up. Soon, America’s new industrial tycoons began to compete for Europe’s extraordinary Old Master pictures, laying claim to works by Vermeer, Titian, Rembrandt, and others, and causing a major migration of art across the Atlantic. Cynthia Saltzman recounts the fierce competition to acquire some of the greatest paintings in the world and the boom in the market. At the center of this enterprise were the steel tycoon Henry Clay Frick, the banker J. Pierpont Morgan, the sugar king Harry Havemeyer and his wife Louisine, as well as the Boston aesthete Isabella Stewart Gardner, and the Metropolitan’s president, Henry Marquand. Old Masters, New World is the story of beauty, aesthetics, and taste; money, trade, and power. It is a backstage look at the part played in American collecting by experts like Bernard Berenson and dealers like Colnaghi, Knoedler, and Duveen—who raced around Europe to negotiate purchases and sales of the rarest and most costly masterpieces.

    It should have been a utopia yet its literature is dominated by brutality and killing. The reasons for this, argues Jesse Byock, lie in the underlying structures and cultural codes of the islands' social order. 'Viking Age Iceland' is an engaging, multi-disciplinary work bringing together findings in anthropology and ethnography interwoven with historical fact and masterful insights into the popular Icelandic sagas, this is a brilliant reconstruction of the inner workings of a unique and intriguing society.

    Using lively anecdotes, Fleming shows how the styles are linked together by common purposes, themes, and ideas.

    Determined to find out more about the beautiful girl in the painting, she hears the story of Lizzie Siddal – a girl from a modest background, not unlike her own, who has found fame and fortune against the odds. Mary sets out to become a Pre-Raphaelite muse, too, and reinvents herself as Persephone Lavelle. But as she fights her way to become the new face of London’s glittering art scene, ‘Persephone’ ends up mingling with some of the city’s more nefarious types and is forced to make some impossible choices.Will Persephone be forced to betray those she loves, and even the person she once was, if she is to achieve her dreams?

    They have become cultural icons, standing not only for different kinds of art but also for different ways of living. Matisse, known for his restraint and intense sense of privacy, for his decorum and discretion, created an art that transcended daily life and conveyed a sensuality that inhabited an abstract and ethereal realm of being. In contrast, Picasso became the exemplar of intense emotionality, of theatricality, of art as a kind of autobiographical confession that was often charged with violence and explosive eroticism. In Matisse and Picasso , Jack Flam explores the compelling, competitive, parallel lives of these two artists and their very different attitudes toward the idea of artistic greatness, toward the women they loved, and ultimately toward their confrontations with death.

    Extensively and beautifully illustrated, the book includes photos, plans, scales for world-famous structures such as the Parthenon, Versailles, the Brooklyn Bridge, and many others."

    This volume deals completely with the First Crusade and the foundation of the kingdom of Jerusalem. As Runciman says in his preface: 'Whether we regard the Crusades as the most tremendous and most romantic of Christian adventures, or as the last of the barbarian invasions, they form a central fact in medieval history. Before their inception the centre of our civilization was placed in Byzantium and in the lands of the Arab caliphate. Before they faded out the hegemony in civilization had passed to western Europe. Out of this transference modern history was born.'

    His disturbing narrative opens up an entire culture, revealing the dark side of Renaissance man and politician Lorenzo de' Medici.On a Sunday in April 1478, assassins attacked Lorenzo and his brother as they attended Mass in the cathedral of Florence. Lorenzo scrambled to safety as Giuliano bled to death on the cathedral floor. April Blood moves outward in time and space from that murderous event, unfolding a story of tangledpassions, ambition, treachery, and revenge. The conspiracy was led by one of the city's most noble clans, the Pazzi, financiers who feared and resented the Medici's swaggering new role as political bosses--but the web of intrigue spread through all of Italy. Bankers, mercenaries, the Duke of Urbino, the King of Naples, and Pope Sixtus IV entered secretly into the plot. Florence was plunged into a peninsular war, and Lorenzo was soon fighting for his own and his family's survival.The failed assassination doomed the Pazzi. Medici revenge was swift and brutal--plotters were hanged or beheaded, innocents were hacked to pieces, and bodies were put out to dangle from the windows of the government palace. All remaining members of the larger Pazzi clan were forced to change theirsurname, and every public sign or symbol of the family was expunged or destroyed.April Blood offers us a fresh portrait of Renaissance Florence, where dazzling artistic achievements went side by side with violence, craft, and bare-knuckle politics. At the center of the canvas is the figure of Lorenzo the Magnificent--poet, statesman, connoisseur, patron of the arts, and ruthlessboss of bosses. This extraordinarily vivid account of a turning point in the Italian Renaissance is bound to become a lasting work of history.