Coming face to face with an important illuminated manuscript in the original is like meeting a very famous person. We may all pretend that a well-known celebrity is no different from anyone else, and yet there is an undeniable thrill in actually meeting and talking to a person of world stature.The idea for the book, which is entirely new, is to invite the reader into intimate conversations with twelve of the most famous manuscripts in existence and to explore with the author what they tell us about nearly a thousand years of medieval history - and sometimes about the modern world too. Christopher de Hamel introduces us to kings, queens, saints, scribes, artists, librarians, thieves, dealers, collectors and the international community of manuscript scholars, showing us how he and his fellows piece together evidence to reach unexpected conclusions. He traces the elaborate journeys which these exceptionally precious artefacts have made through time and space, shows us how they have been copied, who has owned them or lusted after them (and how we can tell), how they have been embroiled in politics and scholarly disputes, how they have been regarded as objects of supreme beauty and luxury and as symbols of national identity. The book touches on religion, art, literature, music, science and the history of taste.Part travel book, part detective story, part conversation with the reader, Meetings with Remarkable Manuscripts conveys the fascination and excitement of encountering some of the greatest works of art in our culture which, in the originals, are to most people completely inaccessible. At the end, we have a slightly different perspective on history and how we come by knowledge. It is a most unusual book.

    If he had not invaded Sicily and Naples, we in the north would have the richest and most civilized state in Europe.' After looking cautiously round the room he added in an even lower voice, 'Of course to the south we would have a neighbour like Egypt.''Was the elderly Italian right? The Pursuit of Italy traces the whole history of the Italian peninsula in a wonderfully readable style, full of well-chosen stories and observations from personal experience, and peopled by many of the great figures of the Italian past, from Cicero and Virgil to Dante and the Medici, from Cavour and Verdi to the controversial political figures of the twentieth century. The book gives a clear-eyed view of the Risorgimento, the pivotal event in modern Italian history, debunking the influential myths which have grown up around it.Gilmour shows that the glory of Italy has always lain in its regions, with their distinctive art, civic cultures, identities and cuisine. The regions produced the medieval communes and the Renaissance, the Venetian Republic and the Grand Duchy of Tuscany, two of the most civilized states of European history. Their inhabitants identified themselves not as Italians, but as Tuscans and Venetians, Sicilians and Lombards, Neapolitans and Genoese. This is where the strength and culture of Italy still comes from, rather than from misconceived and mishandled concepts of nationalism and unity.This wise and enormously engaging book explains the course of Italian history in a manner and with a coherence which no one with an interest in the country could fail to enjoy.

    The sultan has offered, alongside an enormous payment, the promise of immortality, since Leonardo da Vinci’s design was rejected: ‘You will surpass him in glory if you accept, for you will succeed where he has failed, and you will give the world a monument without equal.’ Michelangelo, after some hesitation, flees Rome and an irritated Pope Julius II – whose commission he leaves unfinished – and arrives in Constantinople for this truly epic project. Once there, he explores the beauty and wonder of the Ottoman Empire, sketching and describing his impressions along the way, and becomes immersed in cloak-and-dagger palace intrigues as he struggles to create what could be his greatest architectural master-work. Constructed from real historical fragments, Tell Them of Battles, Kings, and Elephants is a thrilling novella about why stories are told, why bridges are built, and how seemingly unmatched pieces, seen from the opposite sides of civilization, can mirror one another.

    Brilliant in its interpretation of the 16th-century master's paintings, this monumental biography of Titian draws on contemporary accounts and recent art historical research and scholarship, some of it previously unpublished, providing an unparalleled portrait of the artist, as well as a fascinating rendering of Venice as a center of culture, commerce, and power. Sheila Hale's Titian is destined to be this century's authoritative text on the life of greatest painter of the Italian High Renaissance.

    Here are some of the remarkable features of Barnes & Noble Classics:New introductions commissioned from today's top writers and scholarsBiographies of the authorsChronologies of contemporary historical, biographical, and cultural eventsFootnotes and endnotesSelective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the workComments by other famous authorsStudy questions to challenge the reader's viewpoints and expectationsBibliographies for further readingIndices & Glossaries, when appropriateAll editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. One of history’s greatest political philosophers, Niccolò Machiavelli is notorious for his treatise The Prince, which has become a cornerstone of modern political theory. Written in 1513 and published in 1532, after Machivelli’s death, The Prince immediately provoked controversy that has continued unabated to this day. Defining human nature as inherently selfish, Machiavelli proposes that social conflict and violence are natural phenomena that help determine the ablest, most versatile form of government. Asserting that idealism has no place in the political arena, The Prince primarily addresses a monarch’s difficulties in retaining authority. Considered the first expression of political realism, it has often been accused of advocating a political philosophy in which “the end justifies the means.” Indeed the emphasis in The Prince on practical success, at the expense even of traditional moral values, earned Machiavelli a reputation for ruthlessness, deception, and cruelty. Many scholars contend, however, that the author’s pragmatic views of ethics and politics reflected the realities of his time, as exemplified by the Medici family of Florence. Debates about Machiavelli’s theories are as lively today as they were 450 years ago, but no one questions the importance of his fundamental contribution to Western political thought. This newly translated edition also includes Machiavelli’s Letter to Francesco Vettori, The Life of Castruccio Castracani, and excerpts from the Discourses on Livy.Wayne A. Rebhorn, Celanese Centennial Professor of English at the University of Texas, has authored numerous studies of Renaissance European literature. His Foxes and Lions: Machiavelli’s Confidence Men won the Howard R. Marraro Prize of the Modern Language Association of America in 1990.

    Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

    It is a traveller's book, geographically arranged but wandering at will from the past to the present, evoking not only contemporary landscapes and sensations but also the characters, the emotions and the tumultuous events of the past. The first such work ever written about the Venetian ‘Stato da Mar’, it is an invaluable historical companion for visitors to Venice itself and for travellers through the lands the Doges once ruled.

    Every year millions of people come to see Michelangelo's Sistine ceiling, which is the largest fresco painting on earth in the holiest of Christianity's chapels; yet there is not one single Christian image in this vast, magnificent artwork.The Sistine Secrets tells the fascinating story of how Michelangelo embedded messages of brotherhood, tolerance, and freethinking in his painting to encourage "fellow travelers" to challenge the repressive Roman Catholic Church of his time."Driven by the truths he had come to recognize during his years of study in private nontraditional schooling in Florence, truths rooted in his involvement with Judaic texts as well as Kabbalistic training that conflicted with approved Christian doctrine, Michelangelo needed to find a way to let viewers discern what he truly believed. He could not allow the Church to forever silence his soul. And what the Church would not permit him to communicate openly, he ingeniously found a way to convey to those diligent enough to learn his secret language."—from the PrefaceBlech and Doliner reveal what Michelangelo meant in the angelic representations that brilliantly mocked his papal patron, how he managed to sneak unorthodox heresies into his ostensibly pious portrayals, and how he was able to fulfill his lifelong ambition to bridge the wisdom of science with the strictures of faith. The Sistine Secrets unearths secrets that have remained hidden in plain sight for centuries.

    The Deadly Sisterhood An epic saga of the Italian Renaissance from the author of CATHERINE DE MEDICI Full description

    He studied the flight patterns of birds to create some of the first human flying machines; designed military weapons and defenses; studied optics, hydraulics, and the workings of the human circulatory system; and created designs for rebuilding Milan, employing principles still used by city planners today. Perhaps most importantly, Leonardo pioneered an empirical, systematic approach to the observation of nature-what is known today as the scientific method.Drawing on over 6,000 pages of Leonardo's surviving notebooks, acclaimed scientist and bestselling author Fritjof Capra reveals Leonardo's artistic approach to scientific knowledge and his organic and ecological worldview. In this fascinating portrait of a thinker centuries ahead of his time, Leonardo singularly emerges as the unacknowledged “father of modern science.”From the Trade Paperback edition.

    But what did it mean to those who constructed it in the twelfth and thirteenth centuries? And why, during this period, did Europeans begin to build churches in a new style, at such immense height and with such glorious play of light, in the soaring manner we now call Gothic?Universe of Stone shows that the Gothic cathedrals encode a far-reaching shift in the way medieval thinkers perceived their relationship with their world. For the first time, they began to believe in an orderly, rational world that could be investigated and understood. This change marked the beginning of Western science and also the start of a long and, indeed, unfinished struggle to reconcile faith and reason.By embedding the cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—Philip Ball makes sense of the visual and emotional power of Chartres. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone argues that Chartres is a sublime expression of the originality and vitality of a true "first renaissance," one that occurred long before the birth of Leonardo da Vinci, Michelangelo, or Francis Bacon.

    In Leonardo's Lost Princess, Silverman gives a riveting first-person account of how his initial suspicions of the portrait's provenance were confirmed repeatedly by scientists and art experts. He describes the path to authentication, fraught with opposition and controversy. The twists and turns of this fascinating, decade-long quest lead from art history to cutting-edge science, and from a New York art gallery to Paris, Milan, Zurich, and ultimately a Warsaw library where the final, convincing evidence that the portrait was indeed by da Vinci was found.Takes an up-close look at the workings of the art world and at figures ranging from dealers and connoisseurs to a suspected forgerDiscusses current scientific techniques used to investigate and authenticate works of art, such as carbon dating and cutting-edge photographyUses Silverman's drawing as an entree into Leonardo da Vinci's world: his studio, his style, and his methodsExplores the intersection of art and science in the authentication process, involving the work of a man who embodied that intersectionUnearthing the secrets almost lost to history, the book is ideal reading for art lovers and anyone interested in an astounding case of ""whodunit.""

    Caravaggio defied the aesthetic conventions of his time; his use of ordinary people, realistically portrayed—street boys, prostitutes, the poor, the aged—was a profound and revolutionary innovation that left its mark on generations of artists. His insistence on painting from nature, on rendering the emotional truth of experience, whether religious or secular, made him an artist who speaks across the centuries to modern day.Called “racy, intensely imagined, and highly readable” by the New York Times Book Review, Caravaggio includes eight pages of color illustrations, and is sure to appeal to art enthusiasts interested in one of history’s true innovators. Caravaggio is part of the “Eminent Lives” series from HarperCollins, a selection of biographies by distinguished authors on canonical figures.

    A low-pressure system had been stalled over Italy for six weeks and on the previous day it had begun to rain again. Nineteen inches fell in twenty-four hours, more than half of the annual total. By two o’clock in the morning twenty-thousand cubic feet of water per second was moving towards Florence. Soon manhole covers in Santa Croce were exploding into the air as jets of water began shooting out of the now overwhelmed sewer system. Cellars, vaults, and strong-rooms were filling with water. Night watchmen on the Ponte Vecchio alerted the bridge’s jewelers and goldsmiths to come quickly to rescue their wares. By then the water was moving at forty miles per hour at a height of twenty-four feet. At 7:26 a.m. all of Florence’s electric civic clocks came to a stop. The Piazza Santa Croce was under twenty-two feet of water. Beneath the surface, twelve feet of mud, sewage, debris, and oil sludge were starting to ooze and settle into the cellars and crypts and room after room above them. Six-hundred-thousand tons of it would smother, clot, and encrust the city. Dark Water brings the flood and its aftermath to life through the voices of witnesses past and present. Two young American artists wade heedlessly through the inundated city carrying their baby in order to witness its devastated beauty: the Ponte Vecchio buried in debris and Ghiberti’s panels from the doors of the Florence Baptistery, lying heaped in yard-deep mud; the swamped Uffizi Gallery; and, in the city libraries, one billion pages of Renaissance and antique books, soaked in mire. A Life magazine photographer, stowing away on an army helicopter, arrives to capture a drama that, he felt, “could only be told by Dante” amid the flooded tombs of Machiavelli and Michelangelo in Giotto and Vasari’s Santa Croce. A British student, one of thousands of “mud angels” who rushed to Florence to save its art, spends a month scraping mud and mold from Cimabue’s magnificent and neglected Crocifisso as intrigues and infighting among international art experts and connoisseurs swirl around him. And during the fortieth anniversary commemorations of 2006 the author asks himself why art matters so very much to us, and how beauty seems to somehow save the world even in the face of overwhelming disaster.

    After her mother’s death, she quits her teaching job and descends upon her poor but aristocratic relatives, the Count and Countess Casati, in Assisi. It takes a while before they realize, to their chagrin, that Rita has come to stay. When the family assembles to watch the penitentes procession in the town square during Easter Week, a Casati tradition, Rita does not join them as planned. Her corpse is later found in the family mausoleum. Alessandro Cenni, a commissario in the State Police of Umbria, and a handsome bachelor whose twin brother is about to become a bishop, must penetrate the secrets of the Casati family and their circle if he is to discover who killed Rita and why. But he is blocked by their powerful right-wing connections, and by a superior who prefers to arrest a scapegoat rather than risk political suicide. Aided by a loyal staff in his quest for that rarity—justice—he still must acknowledge that no one can defeat the last enemy, death itself. Grace Brophy grew up in Queens, New York. She now divides her time between New York and Terni, a village in Umbria, where she lives with her husband, a Uruguayan artist. This is the first in the Commissario Cenni series of investigations set in Italy.