The Seven Wonders of the Ancient World brings together several lively, detailed and engrossing discussions by noted authorities on each of the famed seven wonders, these being: the Great Pyramid of Egypt, the Hanging Gardens of Babylon, the Statue of Zeus at Olympia, the Temple of Artemis of Ephesus, the Mausoleum of Halicarnassus, The Colossus of Rhodes, and the Lighthouse of Alexandria.

    A layman's guide to art history provides the reader with a basic working knowledge of art and its influence on society.

    In the West particularly, sizable tomes have been composed speculating upon the nature and historical background of one of the main characters of Western religions, Jesus Christ. Many have tried to dig into the precious few clues as to Jesus's identity and come up with a biographical sketch that either bolsters faith or reveals a more human side of this godman to which we can all relate. Obviously, considering the time and energy spent on them, the subjects of Christianity and its legendary founder are very important to the Western mind and culture, and increasingly to the rest of the world as well.Despite all of this literature continuously being cranked out and the significance of the issue, in the public at large there remains a serious lack of formal and broad education regarding religion and mythology, and most individuals are highly uninformed in this area. Concerning the issue of Christianity, for example, the majority of people are taught in most schools and churches that Jesus Christ was an actual historical figure and that the only controversy regarding him is that some people accept him as the Son of God and the Messiah, while others do not. However, whereas this is the raging debate most evident in this field today, it is not the most important. Shocking as it may seem to the general populace, the most enduring and profound controversy in this subject is whether or not a person named Jesus Christ ever really existed.ContentsIntroductionThe ControversyHistory and Positions of the Debate"Pious Fraud"The ProofThe GnosticsBiblical SourcesNon-Biblical SourcesThe CharactersThe Major PlayersBuddhaBuddha's BirthBuddhist CrucifixionHorus of EgyptMithra, Sun God of PersiaMithra's "Virgin" Birth?Mithra and the TwelveKrishna of IndiaKrishna's "Virgin" Birth?The Names of Krishna and ChristKrishna's Solar NaturePrometheus of GreeceThe Creation of a MythThe "Son" of God is the "Sun" of GodEtymology Tells the StoryThe Book of Revelation is Egyptian and ZoroastrianThe "Patriarchs" and "Saints" are the Gods of Other CulturesThe "Disciples" are the Signs of the ZodiacWas Jesus an Essene Master?Qumran is Not an Essene CommunityWas the New Testament Composed by Therapeuts?ConclusionBibliographyEndnotes

    "The demon of speed is often associated with forgetting, with avoidance...and slowness with memory and confronting," observes Milan Kundera in his novel Slowness. With that purpose in mind--a search for slowness and tranquillity--Andy Merrifield set out on a journey of the soul with a friend's donkey, to walk amid the ruins and spectacular vistas of southern France's Haute-Auvergne. The purposeful pace of the journey and the understated nobility of Gribouille, his humble donkey companion, allowed him to confront himself as well as to consider the larger mysteries of life--insight he now shares in his enchanting book, The Wisdom of Donkeys. As Merrifield contemplates literature, science, truth and beauty, and the universality of nature amid the French countryside, Gribouille surprises him with his subtle wisdom, reminding him time and again that enlightenment is all around us if we but seek it. Traveling with Andy Merrifield and Gribouille, we're reminded of the contemplative and exquisite benefits of nature, passive adventuring, and wild spaces.

    This text consists of an illustrated guide to all the major sites in twelve main areas in central Rome, and four in Greater Rome, including the Capitoline Hill, Roman Forum, Colosseum, Mausoleums of Augustus and Hadrian, the Circus Maximus, Catacombs, Ostia, and Tivoli.

    Questions about the construction and the purpose of these majestic monuments have existed since the middle period of ancient Egyptian civilization, but recent cutting-edge research has uncovered information about how and why they were built. In Mountains of the Pharaohs, Zahi Hawass, a world-renowned archaeologist and the official guardian of Egypt’s timeless treasures, weaves the latest archaeological data and an enthralling family history into spellbinding narrative.Nearly five thousand years ago, the 4th Dynasty of Egypt’s Old Kingdom reigned over a highly advanced civilization. Believed to be gods, the royal family lived amid colossal palaces and temples built to honor them and their deified ancestors. Hawass brings these extraordinary historical figures to life, spinning a soap opera–like saga complete with murder, incest, and the triumphant ascension to the throne of one of only four queens ever to rule Egypt.The magnificent pyramids attest not only to the dynasty’s supreme power, but also to the engineering expertise and architectural sophistication that flourished under their rule. Hawass argues that the pyramids—including the Great Pyramid of Khufu, the only one of the Seven Wonders of the World still standing—were built by skilled craftsmen who took great pride in their work.Mountains of the Pharaohs is an unprecedented account of one of civilization’s greatest achievements

    An ancient curse. A stunning medical mystery. And a pioneering journey into the unknown heart of the world's densest jungle.Since the days of conquistador Hernán Cortés, rumors have circulated about a lost city of immense wealth hidden somewhere in the Honduran interior, called the White City or the Lost City of the Monkey God. Indigenous tribes speak of ancestors who fled there to escape the Spanish invaders, and they warn that anyone who enters this sacred city will fall ill and die. In 1940, swashbuckling journalist Theodore Morde returned from the rainforest with hundreds of artifacts and an electrifying story of having found the Lost City of the Monkey God-but then committed suicide without revealing its location.Three quarters of a century later, author Doug Preston joined a team of scientists on a groundbreaking new quest. In 2012 he climbed aboard a rickety, single-engine plane carrying the machine that would change everything: lidar, a highly advanced, classified technology that could map the terrain under the densest rainforest canopy. In an unexplored valley ringed by steep mountains, that flight revealed the unmistakable image of a sprawling metropolis, tantalizing evidence of not just an undiscovered city but an enigmatic, lost civilization.Venturing into this raw, treacherous, but breathtakingly beautiful wilderness to confirm the discovery, Preston and the team battled torrential rains, quickmud, disease-carrying insects, jaguars, and deadly snakes. But it wasn't until they returned that tragedy struck: Preston and others found they had contracted in the ruins a horrifying, sometimes lethal-and incurable-disease.

    In this Penguin Classics edition, the letters are selected and edited by Ronald de Leeuw, and translated by Arnold Pomerans in Penguin Classics.Few artists' letters are as self-revelatory as Vincent van Gogh's, and this selection, spanning his artistic career, sheds light on every facet of the life and work of this complex and tortured man. Engaging candidly and movingly with his religious struggles, his ill-fated search for love, his attacks of mental illness and his relation with his brother Theo, the letters contradict the popular myth of van Gogh as an anti-social madman and a martyr to art, showing instead a man of great emotional and spiritual depths. Above all, they stand as an intense personal narrative of artistic development and a unique account of the process of creation.The letters are linked by explanatory biographical passages, revealing van Gogh's inner journey as well as the outer facts of his life. This edition also includes the drawings that originally illustrated the letters.Vincent Willem van Gogh (1853-1890) was born in Holland. In 1885 he painted his first masterpiece, The Potato Eaters, a haunting scene of domestic poverty. A year later he began studying in Paris, where he met Gauguin, Toulouse-Lautrec and Seurat, who became very important influences on his work. In 1888 he left Paris for the Provencal landscape at Arles, the subject of many of his best works, including Sunflowers.If you enjoyed The Letters of Vincent van Gogh, you might also like 100 Artists Manifestos, available in Penguin Modern Classics.'If there was ever any doubt that Van Gogh's letters belong beside those great classics of artistic self-revelation, Cellini's autobiography and Delacroix's journal, this excellent new edition dispels it'The Times

    Yet unsanctioned public art remains the problem child of cultural expression, the last outlaw of visual disciplines. It has also become a global phenomenon of the 21st century. Made in collaboration with featured artists, Trespass examines the rise and global reach of graffiti and urban art, tracing key figures, events and movements of self-expression in the city's social space, and the history of urban reclamation, protest, and illicit performance. The first book to present the full historical sweep, global reach and technical developments of the street art movement, Trespass features key works by 150 artists, and connects four generations of visionary outlaws including Jean Tinguely, Spencer Tunick, Keith Haring, Os Gemeos, Jenny Holzer, Barry McGee, Gordon Matta-Clark, Shepard Fairey, Blu, Billboard Liberation Front, Guerrilla Girls and Banksy, among others. It also includes dozens of previously unpublished photographs of long-lost works and legendary, ephemeral urban artworks. Also includes: • Unpublished images of street art by Keith Haring and Jean-Michel Basquiat • Unpublished photographs by Subway Art luminary Martha Cooper • Unpublished photos from the personal archives of selected artists • Incisive essays by Anne Pasternak (director of public arts fund Creative Time) and civil rights lawyer Tony Serra • Special feature: exclusive preface by Banksy

    But as engineer Gustave Eiffel built the now-famous landmark to be the spectacular centerpiece of the 1889 World's Fair, he stirred up a storm of vitriol from Parisian tastemakers, lawsuits, and predictions of certain structural calamity. In Eiffel's Tower, Jill Jonnes, critically acclaimed author of Conquering Gotham, presents a compelling account of the tower's creation and a superb portrait of Belle Epoque France. As Eiffel held court that summer atop his one-thousand-foot tower, a remarkable host of artists and personalities-Buffalo Bill, Annie Oakley, Gauguin, Whistler, and Edison-traveled to Paris and the Exposition Universelle to mingle and make their mark. Like The Devil in the White City, Brunelleschi's Dome, and David McCullough's accounts of the building of the Panama Canal and the Brooklyn Bridge, Eiffel's Tower combines technological and social history and biography to create a richly textured portrayal of an age of aspiration, dreams, and progress.

    But the treasure inside was not what they expected, and in fact far more valuable: the walls were covered with stunning prehistoric paintings and engravings, preserved within the sealed cave for over 17,000 years. This is the true story of the boys who discovered the cave of Lascaux, bringing to the modern world powerful examples of the very beginning of art.

    A book that breaks new ground, dispels myths, and reinforces the special nature of being a redhead, with a look at multiple disciplines, including science, religion, politics, feminism and sexuality, literature, and art. With an obsessive fascination that is as contagious as it is compelling, author Jacky Colliss Harvey (herself a redhead) begins her exploration of red hair in prehistory and traces the redhead gene as it made its way out of Africa with the early human diaspora to its emergence under Northern skies. She goes on to explore red hair in the ancient world; the prejudice manifested against red hair across medieval Europe; red hair during the Renaissance as both an indicator of Jewishness during the Inquisition and the height of fashion in Protestant England, under the reign of Henry VIII and Elizabeth I; the modern age of art and literature, and the first positive symbols of red hair in children's characters; modern medicine and science and the genetic and chemical decoding of red hair; and finally, red hair in contemporary culture, from advertising and exploitation to "gingerism" and the new movement against bullying.

    At every stage of civilization, people have relied on symbolic expression, and advances in science and technology have only increased our dependence on symbols. The language of symbols is considered a science, and this informative volume offers an indispensable tool in the study of symbology. It can be used as a reference or simply browsed for pleasure. Many of its entries — those on architecture, mandala, numbers, serpent, water, and zodiac, for example — can be read as independent essays. The vitality of symbology has never been greater: An essential part of the ancient arts of the Orient and of the Western medieval traditions, symbolism underwent a 20th-century revival with the study of the unconscious, both directly in the field of dreams, visions, and psychoanalysis, and indirectly in art and poetry. A wide audience awaits the assistance of this dictionary in elucidating the symbolic worlds encountered in both the arts and the history of ideas.

    This infinity of lists is no coincidence: a culture prefers enclosed, stable forms when it is sure of its own identity, while when faced with a jumbled series of ill-defined phenomena, it starts making lists. The poetics of lists runs throughout the history of art and literature. We do not only see it at work in ancient bestiaries, the celestial hosts of angels or the naturalist collections of the 16th century. We also find it more obliquely from Homer to Joyce, from the treasures of Gothic cathedrals to the fantastic landscapes of Bosch and cabinets of curiosities, until we get to Andy Warhol and Arman in the 20th century. In this 5-colour illustrated edition, Umberto Eco reflects on how the idea of catalogues has changed over the centuries and how, from one period to another, it has expressed the spirit of the times. His essay is accompanied by a literary anthology and a wide selection of works of art illustrating and analysing the texts presented. This new illustrated essay is a companion volume to On Beauty and On Ugliness.

    The text includes a short essay and commentaries on each of the paintings, and incorporates new research on Vermeer's life and extraordinary artistic achievements.