The Holy City is drenched with blood and teeming with secrets. A pope lies dying and the throne of God is left vacant, a prize awarded only to the most virtuous--or the most ruthless. The Borgia family begins its legendary rise, chronicled by an innocent girl who finds herself drawn into their dangerous web... Vivacious Giulia Farnese has floor-length golden hair and the world at her feet: beauty, wealth, and a handsome young husband. But she is stunned to discover that her glittering marriage is a sham, and she is to be given as a concubine to the ruthless, charismatic Cardinal Borgia: Spaniard, sensualist, candidate for Pope--and passionately in love with her. Two trusted companions will follow her into the Pope's shadowy harem: Leonello, a cynical bodyguard bent on bloody revenge against a mysterious killer, and Carmelina, a fiery cook with a past full of secrets. But as corruption thickens in the Vatican and the enemies begin to circle, Giulia and her friends will need all their wits to survive in the world of the Borgias.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    A magnificent blend of fact, historical color, emotion, and invention, The Miracles of Prato is a novel that will delight the many fans of Tracy Chavalier's Girl with a Pearl Earring and Susan Vreeland's Girl in Hyacinth Blue.Italy, 1456. The Renaissance is in glorious bloom. A Carmelite monk, the great artist Fra Filippo Lippi acts as chaplain to the nuns of the Convent Santa Margherita. It is here that he encounters the greatest temptation of his life, beautiful Lucrezia Buti, who has been driven to holy orders more by poverty than piety. In Lucrezia's flawless face Lippi sees the inspiration for countless Madonnas and he brings the young woman to his studio to serve as his model. But as painter and muse are united in an exhilarating whirl of artistic discovery, a passionate love develops, one that threatens to destroy them both even as it fuels some of Lippi's greatest work.

    Destroy its claims to admiration there, and it can assert them nowhere else." This was Ruskin's war cry as he entered the now almost forgotten Battle of the Styles on the side against "the school which has conducted men's inventive and constructional faculties from the Grand Canal to Gower Street."But first the reader must know the difference between right and wrong; he must find out for himself the best way of doing everything. "I shall give him stones, and bricks and straw, chisels and trowels and the ground, and then ask him to build, only helping him if I find him puzzled."Unhappily, both these exciting objectives were attained only after the expenditure of nearly half-a-million words; glorious words, but too many. For fifty years, The Stones of Venice was read by all who went there and thousands who could not; the sightseers whom the city captivates today seldom have its greatest guidebook with them.It is the aim of this new edition to put a fascinating book within reach of travelers--active or armchair--with limited resources of time. Much that was superfluous has been omitted; what remains is the essence of a now very readable and portable book. It is a book for the lover of architecture, the lover of Venice, the lover of lost causes, and, perhaps above all, for the lover of fine writing.

    By creating a single-volume sourcebook of core Christian stories, Jacobus de Voragine (c. 1229-98) attracted a huge audience across Europe. This selection of over seventy biographies ranges from the first Apostles and Roman martyrs to near-contemporaries such as St Dominic, St Francis of Assissi and St Elizabeth of Hungary. Here, witnesses to the true faith endure horrific tortures; reformed prostitutes win divine forgiveness; while other women live disguised as monks or nobly resist lustful tyrants. Lucid and compelling, The Golden Legend offers an enthralling insight into the medieval mind.

    In this vivid and beautifully written biography, Helen Langdon tells the story of the great painter's life and times in a way that leaves the reader with a renewed appreciation of his art.

    This unique selection of illustrations with commentaries and source texts guides us on a fascinating journey through the representations of the secret arts.

    In Danger is the first anthology in English devoted to his political and literary essays, with a generous selection of his poetry. Against the backdrop of post-war Italy, and through the mid-'70s, Pasolini's writings provide a fascinating portrait of a Europe in which fascists and communists violently clashed for power and where journalists ran great risks. The controversial and openly gay Pasolini was murdered at the age of fifty-three; In Danger includes his final interview, conducted hours before his death.

    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.

    . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two." --Roger Lowenstein, The Wall Street JournalA captivatingstudy of Napoleon's plundering of Europe's art for the Louvre, told through the story of a Renaissance masterpiece seized from VeniceCynthia Saltzman's Plunder recounts the fate of Paolo Veronese's Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers' space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings.As Saltzman tells the larger story of Napoleon's looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness--to carry forward the finest aspects of civilization--and his ruthlessness in getting whatever he sought. After Napoleon's 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre's plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa.Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.

    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.

    Why does he seem so familiar? And what is his connection to the great Renaissance painter? Set in Paris and Italy, this lyrical first novel interweaves two parallel love stories, offering readers a unique view on the research and inspiration that goes into creating historical novels such as The Girl with the Pearl Earring and The Birth of Venus.

    Each one of the 976 works of art represented in the book -- including 661 classical paintings on display in the permanent painting collection and 315 other masterpieces -- is annotated with the name of the painting and artist, the date of the work, the birth and death dates of the artist, the medium that was used, the size of the work, and the catalog number (if applicable). In addition, 180 of the most iconic and significant paintings and other pieces of art are highlighted with 300-word essays by art historian Anja Grebe on such topics as the key attributes of the work, what to look for when viewing the work, the artist's inspirations and techniques, biographical information on the artist, and the artist's impact on art history.

    As Jardine boldly states, "The seeds of our own exuberant multiculturalism and bravura consumerism were planted in the European Renaissance." While Europe's royalty and merchants competed with each other to acquire works of art, vicious commercial battles were being fought over who should control the centers for trade around the globe. Jardine encompasses Renaissance culture from its western borders in Christendom to its eastern reaches in the Islamic Ottoman Empire, bringing this opulent epoch to life in all its material splendor and competitive acquisitiveness. "A savvy, street-smart history of the Renaissance."—Dan Cryer, Newsday "Jardine's lively book is specific and down-to-earth. A particularly fascinating section recalls how books suddenly ceased to be principally collector's items or aids to scholars and became the sixteenth century's Internet, dispensing fact and fancy to high and low."—The New Yorker

    When Cardinal Rodrigo Borgia buys his way into the papacy as Alexander VI, he is defined not just by his wealth or his passionate love for his illegitimate children, but by his blood: He is a Spanish Pope in a city run by Italians. If the Borgias are to triumph, this charismatic, consummate politician with a huge appetite for life, women, and power must use papacy and family—in particular, his eldest son, Cesare, and his daughter Lucrezia—in order to succeed.Cesare, with a dazzlingly cold intelligence and an even colder soul, is his greatest—though increasingly unstable—weapon. Later immortalized in Machiavelli’s The Prince, he provides the energy and the muscle. Lucrezia, beloved by both men, is the prime dynastic tool. Twelve years old when the novel opens, hers is a journey through three marriages, and from childish innocence to painful experience, from pawn to political player.