Enter their world of splendor and depravity, of passion and wickedness... It is Italy's most dazzling and dangerous age, and as Beatrice d'Este and Isabella of Aragon match wits and feminine cunning, it is a dance to the death to decide which one of them will be crowned - Duchess of Milan

    "A full-color picture book for adults that tells a wrenching story of eternal love.”—NPR Books"To truly love another, you must follow the lover’s path wherever it may take you . . . .”Filamena Ziani is the much younger sister of the most famous courtesan in sixteenth-century Venice, Tullia Ziani. Orphaned as an infant, Filamena has come of age bent like a branch to her sister’s will, sheltered and lonely in the elegant but stifling confines of their palazzo by the sea. Then a dark-haired stranger offers a gift that will change the course of her life forever: a single ripe plum, and an invitation to walk along the lover’s path, wherever it may lead.THE LOVER’S PATH, a moving tale of forbidden love, is an illustrated novella told in multiple layers. Through a sumptuous combination of Filamena’s narrative, famous love stories from history and mythology, ornate illustrations, and interactive maps, Filamena’s path is beautifully described and, finally, stunningly revealed.Praised by The New York Times Book Review for her “quality of myth and magic,” Waldherr brings to life a remarkable period in Venetian history. Her glorious celebration of romance, the feminine spirit, and the power of love to transform will inspire and move readers everywhere.

    Lucrezia has fled Rome to a loveless marriage with Alfonso, heir to the duke of Ferrara, to escape the rumors that she is utterly depraved---incestuous, a lecher, a poisoner. To her delight she is warmly welcomed in Ferrara, by the duke, by his court, by the people, indeed by everyone except her husband. And then, after only six weeks of basking in the warmth of general approval, Alfonso rushes into her apartment and accuses her of poisoning Bianca Tedaldo, one of her ladies in waiting and mistress to Alfonso. Immediately, Lucrezia sees the nightmare of her life in Rome recurring. The whispers behind her back, the signs to ward off evil, people making out their wills when she invites them to share a meal. To deny the charge is useless. Lucrezia knows all too well the futility of claiming innocence even when the claim is clearly and plainly true. The only way for her to retrieve her reputation is to discover who committed the crime and expose the true murderer.

    Its architectural treasures crumble—foundations shift, marble ornaments fall—even as efforts to preserve them are underway. The City of Falling Angels opens on the evening of January 29, 1996, when a dramatic fire destroys the historic Fenice opera house. The loss of the Fenice, where five of Verdi's operas premiered, is a catastrophe for Venetians. Arriving in Venice three days after the fire, Berendt becomes a kind of detective—inquiring into the nature of life in this remarkable museum-city—while gradually revealing the truth about the fire.In the course of his investigations, Berendt introduces us to a rich cast of characters: a prominent Venetian poet whose shocking "suicide" prompts his skeptical friends to pursue a murder suspect on their own; the first family of American expatriates that loses possession of the family palace after four generations of ownership; an organization of high-society, partygoing Americans who raise money to preserve the art and architecture of Venice, while quarreling in public among themselves, questioning one another's motives and drawing startled Venetians into the fray; a contemporary Venetian surrealist painter and outrageous provocateur; the master glassblower of Venice; and numerous others-stool pigeons, scapegoats, hustlers, sleepwalkers, believers in Martians, the Plant Man, the Rat Man, and Henry James.Berendt tells a tale full of atmosphere and surprise as the stories build, one after the other, ultimately coming together to reveal a world as finely drawn as a still-life painting. The fire and its aftermath serve as a leitmotif that runs throughout, adding the elements of chaos, corruption, and crime and contributing to the ever-mounting suspense of this brilliant book.

    Entrenched in a terrible war with the Turks and caught in a political struggle between power-hungry Pope Alexander VI and the newly elected Doge Loredan, the people of Venice fear that a demon has come to exact divine punishment for their sins.Doge Loredan is determined to find the real culprit before the Pope can turn the people against him. To do so, he hires unorthodox German monk Mathias to investigate the murders. Soon Lorenzo Scarpa, a young printer and nephew to one of the victims, joins in the search. The mystery leads them into Venice’s underground printing industry, where they learn of a dangerous book hidden somewhere in the city, a book whose secrets could determine the destiny of the Republic—a book that others are more than willing to kill for.

    Set in 1507, when the author himself was an attaché to the Duke of Urbino, the book consists of a series of fictional conversations between members of the Duke's retinue. All aspects of leadership come under discussion, but the primary focus rests upon the relationship between advisors and those whom they counsel. Ever-relevant subjects include the decision-making process, maintaining an ethical stance, and the best ways of interacting with authority figures. Frequently assigned in university courses on literature, history, and Renaissance studies, the Dover edition of this classic work will be the lowest-priced edition available.

    . .Fifteenth-century Rome: The Borgia family is on the rise. Lucrezia’s father, Pope Alexander VI, places his illegitimate daughter and her only brothers, Cesare, Giovanni, and Goffredo, in the jeweled splendor—and scandal—of his court. From the Pope’s affairs with adolescent girls to Cesare’s dangerous jealousy of anyone who inspires Lucrezia’s affections to the ominous birth of a child conceived in secret, no Borgia can elude infamy.Young Lucrezia gradually accepts her fate as she comes to terms with the delicate nature of her relationships with her father and brothers. The unbreakable bond she shares with them both exhilarates and terrifies her as her innocence begins to fade. Soon she will understand that her family’s love pales next to their quest for power and that she herself is the greatest tool in their political arsenal. From the inimitable pen of Jean Plaidy, this family’s epic legend is replete with passion, intrigue, and murder—and it’s only the beginning.

    But after her grandmother passes away and it falls to her less-than-reliable father to take her instead, Meg’s long-anticipated travel plans seem permanently on hold. When her dad finally tells Meg to book the trip, she prays that the experience will heal the fissures left on her life by her parents’ divorce. But when Meg arrives in Florence, her father is nowhere to be found, leaving aspiring memoir-writer Sophia Borelli to introduce Meg to the rich beauty of the ancient city. Sofia claims to be one of the last surviving members of the Medici family and that a long-ago Medici princess, Nora Orsini, communicates with her from within the great masterpieces of the Italian Renaissance. When Sophia, Meg, and Nora’s stories intersect, their lives will be indelibly changed as they each answer the question: What if renaissance isn’t just a word? What if that’s what happens when you dare to believe that what is isn’t what has to be?

    Through Hogarth's lifelong marriage to Jane Thornhill, his inability to have children, his time as one of England's best portrait painters, his old age and unfortunate dip into politics, and his untimely death, I, Hogarth is the remarkable story told through the artist's eyes. Michael Dean blends Hogarth's life and work into a rich and satisfying narrative, recommended for fans of Hilary Mantel and Peter Ackroyd.

    We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic.And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart.In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision.Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael.A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.

    The stories are told in a country villa outside the city of Florence by ten young noble men and women who are seeking to escape the ravages of the plague. Boccaccio's skill as a dramatist is masterfully displayed in these vivid portraits of people from all stations in life, with plots that revel in a bewildering variety of human reactions.Translated with an Introduction and Notes by G. H. McWilliam

    Examining questions of faith, desire and enlightenment, the poem is a brilliantly nuanced and moving allegory of human redemption. Dante Alighieri was born in Florence in 1265 and belonged to a noble but impoverished family. His life was divided by political duties and poetry, the most of famous of which was inspired by his meeting with Bice Portinari, whom he called Beatrice,including La Vita Nuova and The Divine Comedy. He died in Ravenna in 1321.

    Murphy is a superb storyteller, and her fast-paced narrative captures the intrigue, the scandal, the romantic affairs, and the violence that were commonplace in the Florentine court. She brings to life an extraordinary woman, fluent in five languages, a free-spirited patron of the arts, a daredevil, a practical joker, and a passionate lover. Isabella, in fact, conducted numerous affairs, including a ten-year relationship with the cousin of her violent and possessive husband. Her permissive lifestyle, however, came to an end upon the death of her father, who was succeeded by her disapproving older brother Francesco. Considering Isabella's ways to be licentious and a disgrace upon the family, he permitted her increasingly enraged husband to murder her in a remote Medici villa. To tell this dramatic story, Murphy draws on a vast trove of newly discovered and unpublished documents, ranging from Isabella's own letters, to the loose-tongued dispatches of ambassadors to Florence, to contemporary descriptions of the opulent parties and balls, salons and hunts in which Isabella and her associates participated. Murphy resurrects the exciting atmosphere of Renaissance Florence, weaving Isabella's beloved city into her story, evoking the intellectual and artistic community that thrived during her time. Palaces and gardens in the city become places of creativity and intrigue, sites of seduction, and grounds for betrayal. Here then is a narrative of compelling and epic proportions, magnificent and alluring, decadent and ultimately tragic.

    He was also a murderer and a braggart, a shameless adventurer who at different times experienced both papal persecution and imprisonment, and the adulation of the royal court. Inn-keepers and prostitutes, kings and cardinals, artists and soldiers rub shoulders in the pages of his notorious autobiography: a vivid portrait of the manners and morals of both the rulers of the day and of their subjects. Written with supreme powers of invective and an irrepressible sense of humour, this is an unrivalled glimpse into the palaces and prisons of the Italy of Michelangelo and the Medici.

    The artists gather for a picture at a party in an ancient villa. Bear Bavinsky, creator of vast canvases, larger than life, is at the centre of the picture. His wife, Natalie, edges out of the shot.From the side of the room watches little Pinch—their son. At five years old he loves Bear almost as much as he fears him. After Bear abandons their family, Pinch will still worship him, striving to live up to the Bavinsky name; while Natalie, a ceramicist, cannot hope to be more than a forgotten muse. Trying to burn brightly in his father's shadow, Pinch's attempts flicker and die. Yet by the end of a career of twists and compromises, Pinch will enact an unexpected rebellion that will leave forever his mark upon the Bear Bavinsky legacy.A masterful, original examination of love, duty, art and fame, The Italian Teacher cements Tom Rachman as among this generation's most exciting literary voices.