By universal acclaim, this biography by G. K. Chesterton is considered the best appreciation of Francis's life--the one that gets to the heart of the matter.For Chesterton, Francis is a great paradoxical figure, a man who loved women but vowed himself to chastity; an artist who loved the pleasures of the natural world as few have loved them, but vowed himself to the most austere poverty, stripping himself naked in the public square so all could see that he had renounced his worldly goods; a clown who stood on his head in order to see the world aright. Chesterton gives us Francis in his world-the riotously colorful world of the High Middle Ages, a world with more pageantry and romance than we have seen before or since. Here is the Francis who tried to end the Crusades by talking to the Saracens, and who interceded with the emperor on behalf of the birds. Here is the Francis who inspired a revolution in art that began with Giotto and a revolution in poetry that began with Dante. Here is the Francis who prayed and danced with pagan abandon, who talked to animals, who invented the creche.

    Working out of a shed in his parents' garden, Greenhalgh had successfully fooled some of the world's greatest museums. During the court case, the breadth of his forgeries shocked the art world and tantalised the media. What no one realised was how much more of the story there was to tell.Written in prison, A Forger's Tale details Shaun's notorious career and the extraordinary circumstances that led to it. From Leonardo drawings to L.S. Lowry paintings, from busts of American presidents to Anglo-Saxon brooches, from cutting-edge Modernism to the ancient art of the Stone Age, Greenhalgh could - and did - copy it all. Told with great wit and charm, this is the definitive account of Britain's most successful and infamous forger, a man whose love for art saturates every page of this extraordinary memoir.

    It is also one of history’s most mysterious and compelling works of art. This haunting stitched account of the battle that redrew the map of medieval Europe has inspired dreams of theft, waves of nationalism, visions of limitless power, and esthetic rapture. In his fascinating new book, Yale professor R. Howard Bloch reveals the history, the hidden meaning, the deep beauty, and the enduring allure of this astonishing piece of cloth.Bloch opens with a gripping account of the event that inspired the Tapestry: the swift, bloody Battle of Hastings, in which the Norman bastard William defeated the Anglo-Saxon king, Harold, and laid claim to England under his new title, William the Conqueror. But to truly understand the connection between battle and embroidery, one must retrace the web of international intrigue and scandal that climaxed at Hastings. Bloch demonstrates how, with astonishing intimacy and immediacy, the artisans who fashioned this work of textile art brought to life a moment that changed the course of British culture and history. Every age has cherished the Tapestry for different reasons and read new meaning into its enigmatic words and images. French nationalists in the mid-nineteenth century, fired by Tapestry’s evocation of military glory, unearthed the lost French epic “The Song of Roland,” which Norman troops sang as they marched to victory in 1066. As the Nazis tightened their grip on Europe, Hitler sent a team to France to study the Tapestry, decode its Nordic elements, and, at the end of the war, with Paris under siege, bring the precious cloth to Berlin. The richest horde of buried Anglo-Saxon treasure, the matchless beauty of Byzantine silk, Aesop’s strange fable “The Swallow and the Linseed,” the colony that Anglo-Saxon nobles founded in the Middle East following their defeat at Hastings–all are brilliantly woven into Bloch’s riveting narrative.Seamlessly integrating Norman, Anglo-Saxon, Viking, and Byzantine elements, the Bayeux Tapestry ranks with Chartres and the Tower of London as a crowning achievement of medieval Europe. And yet, more than a work of art, the Tapestry served as the suture that bound up the wounds of 1066. Enhanced by a stunning full-color insert that includes reproductions of the complete Tapestry, A Needle in the Right Hand of God will stand with The Professor and the Madman and How the Irish Saved Civilization as a triumph of popular history.From the Hardcover edition.

    A populist rebellion against the established churches, it became the dominant religious force in the country.During the nineteenth century white evangelicals split apart dramatically, first North versus South, and then at the end of the century, modernist versus fundamentalist. After World War II, Billy Graham, the revivalist preacher, attracted enormous crowds and tried to gather all Protestants under his big tent, but the civil rights movement and the social revolution of the sixties drove them apart again. By the 1980s Jerry Falwell and other southern televangelists, such as Pat Robertson, had formed the Christian right. Protesting abortion and gay rights, they led the South into the Republican Party, and for thirty-five years they were the sole voice of evangelicals to be heard nationally. Eventually a younger generation of leaders protested the Christian right’s close ties with the Republican Party and proposed a broader agenda of issues, such as climate change, gender equality, and immigration reform.Evangelicals have in many ways defined the nation. They have shaped our culture and our politics. Frances FitzGerald’s narrative of this distinctively American movement is a major work of history, piecing together the centuries-long story for the first time. Evangelicals now constitute twenty-five percent of the American population, but they are no longer monolithic in their politics. They range from Tea Party supporters to social reformers. Still, with the decline of religious faith generally, FitzGerald suggests that evangelical churches must embrace ethnic minorities if they are to survive.

    This extraordinary endurance is all the more remarkable because the Byzantine empire was favored neither by geography nor by military preponderance. Yet it was the western empire that dissolved during the fifth century. The Byzantine empire so greatly outlasted its western counterpart because its rulers were able to adapt strategically to diminished circumstances, by devising new ways of coping with successive enemies. It relied less on military strength and more on persuasion―to recruit allies, dissuade threatening neighbors, and manipulate potential enemies into attacking one another instead. Even when the Byzantines fought―which they often did with great skill―they were less inclined to destroy their enemies than to contain them, for they were aware that today’s enemies could be tomorrow’s allies. Born in the fifth century when the formidable threat of Attila’s Huns were deflected with a minimum of force, Byzantine strategy continued to be refined over the centuries, incidentally leaving for us several fascinating guidebooks to statecraft and war. The Grand Strategy of the Byzantine Empire is a broad, interpretive account of Byzantine strategy, intelligence, and diplomacy over the course of eight centuries that will appeal to scholars, classicists, military history buffs, and professional soldiers.

    The creator of expansive tableaus of fantastic and hellish scenes—where any devil not dancing is too busy eating human souls—he has been as equally misunderstood by history as his paintings have. In this book, Nils Büttner draws on a wealth of historical documents—not to mention Bosch’s paintings—to offer a fresh and insightful look at one of history’s most peculiar artists on the five-hundredth anniversary of his death.             Bosch’s paintings have elicited a number a responses over the centuries. Some have tried to explain them as alchemical symbolism, others as coded messages of a secret cult, and still others have tried to psychoanalyze them. Some have placed Bosch among the Adamites, others among the Cathars, and others among the Brethren of the Free Spirit, seeing in his paintings an occult life of free love, strange rituals, mysterious drugs, and witchcraft. As Büttner shows, Bosch was—if anything—a hardworking painter, commissioned by aristocrats and courtesans, as all painters of his time were. Analyzing his life and paintings against the backdrop of contemporary Dutch culture and society, Büttner offers one of the clearest biographical sketches to date alongside beautiful reproductions of some of Bosch’s most important work. The result is a smart but accessible introduction to a unique artist whose work transcends genre.

    The author retraces Michelangelo's journey from Rome to Florence, explores his changing religious views and examines the complicated politics of patronage in Renaissance Italy. The psychological portrait of Michelangelo is constantly foregrounded, depicting with great conviction a tormented man, solitary and avaricious, burdened with repressed homosexuality and a surplus of creative enthusiasm. Michelangelo's acts of self-representation and his pivotal role in constructing his own myth are compellingly unveiled. Antonio Forcellino is one of the world's leading authorities on Michelangelo and an expert art historian and restorer. He has been involved in the restoration of numerous masterpieces, including Michelangelo's Moses. He combines his firsthand knowledge of Michelangelo's work with a lively literary style to draw the reader into the very heart of Michelangelo's genius.

    In 2014, Richard Fidler and his son Joe made a journey to Istanbul. Fired by Richard's passion for the rich history of the dazzling Byzantine Empire - centred around the legendary Constantinople - we are swept into some of the most extraordinary tales in history. The clash of civilizations, the fall of empires, the rise of Christianity, revenge, lust, murder. Turbulent stories from the past are brought vividly to life at the same time as a father navigates the unfolding changes in his relationship with his son.GHOST EMPIRE is a revelation: a beautifully written ode to a lost civilization, and a warmly observed father-son adventure far from home.

    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.

    Beginning in the eleventh century and ending as late as the eighteenth, these holy wars were waged against Muslims and other enemies of the Church, enlisting generations of laymen and laywomen to fight for the sake of Christendom.Crusading features prominently in today's religio-political hostilities, yet the perceptions of these wars held by Arab nationalists, pan-Islamists, and many in the West have been deeply distorted by the language and imagery of nineteenth-century European imperialism. With this book, Jonathan Riley-Smith returns to the actual story of the Crusades, explaining why and where they were fought and how deeply their narratives and symbolism became embedded in popular Catholic thought and devotional life.From this history, Riley-Smith traces the legacy of the Crusades into modern times, specifically within the attitudes of European imperialists and colonialists and within the beliefs of twentieth-century Muslims. Europeans fashioned an interpretation of the Crusades from the writings of Walter Scott and a French contemporary, Joseph-Fran�ois Michaud. Scott portrayed Islamic societies as forward-thinking, while casting Christian crusaders as culturally backward and often morally corrupt. Michaud, in contrast, glorified crusading, and his followers used its imagery to illuminate imperial adventures.These depictions have had a profound influence on contemporary Western opinion, as well as on Muslim attitudes toward their past and present. Whether regarded as a valid expression of Christianity's divine enterprise or condemned as a weapon of empire, crusading has been a powerful rhetorical tool for centuries. In order to understand the preoccupations of Islamist jihadis and the character of Western discourse on the Middle East, Riley-Smith argues, we must understand how images of crusading were formed in the nineteenth and twentieth centuries.

    But if you asked most people alive at that time, they would have pointed you to what they considered the continuation of the Roman Empire-the civilization we now call the Byzantine Empire. The Byzantines, however, were more than just a remnant of Roman glory. At its geographical peak, the Byzantine Empire stretched out across the Mediterranean world. Culturally, the Byzantines both preserved the knowledge of the classical world, much of which was lost in the West, and added to it. Inside you will read about... - A Divided Empire - The Fall of the West - Rising to Glory - An Age of War - The Destruction of Icons - The House of Macedon - The Comnenian Revival - The Final Decline And much more! Shaped by its classical roots, its Christian religion, and the changing medieval world, the story of the Byzantine Empire is one of both glorious victories and terrible defeats, of a civilization that rose from the brink of destruction again and again, and of the development of a culture whose vestiges remain today.

    * Tom Holland, author of RUBICON and PERSIAN FIRE, gives a thrilling panoramic account of the birth of the new Western Europe in the year 1000

    Sir Mortimer Wheeler describes the architecture and town planning, thesculpture and painting, the silverware, glass, pottery and the otherrich artistic achievements of the era.

    From Egyptian wall paintings to the Venetian Renaissance, impressionism to digital images, Philip Ball tells the fascinating story of how art, chemistry, and technology have interacted throughout the ages to render the gorgeous hues we admire on our walls and in our museums.Finalist for the 2002 National Book Critics Circle Award.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.