No less significant than the collapse of the Roman Republic or the Persian invasion of Greece, the evolution of the Arab empire is one of the supreme narratives of ancient history, a story dazzlingly rich in drama, character, and achievement.  Just like the Romans, the Arabs came from nowhere to carve out a stupefyingly vast dominion—except that they achieved their conquests not over the course of centuries as the Romans did but in a matter of decades. Just like the Greeks during the Persian wars, they overcame seemingly insuperable odds to emerge triumphant against the greatest empire of the day—not by standing on the defensive, however, but by hurling themselves against all who lay in their path.

    A central figure of the Renaissance, no one had painted or drawn the world like him. Dürer drew hares and rhinoceroses in the way he painted saints and madonnas. The wing of a bird or the wing of an angel; a spider crab or a bursting star like the augury of a black hole, in Dürer's art, they were part of a connected world. Everything had meaning. But now he was in crisis. He had lost his patron, the Holy Roman Emperor. He was moorless and filled with wanderlust. In the shape of the whale, he saw his final ambition. Dürer was the first artist to truly employ the power of reproduction. He reinvented the way people looked at, and understood, art. He painted signs and wonders; comets, devils, horses, nudes, dogs, and blades of grass so accurately that even today they seem hyper-real, utterly modern images. Most startling and most modern of all, he painted himself, at every stage of his life. But his art captured more than the physical world, he also captured states of mind. Albert and the Whale explores the work of this remarkable man through a personal lens. Drawing on Philip’s experience of the natural world, and of the elements that shape our contemporary lives, from suburbia to the wide open sea, Philip will enter Dürer's time machine. Seeking his own Leviathan, Hoare help us better understand the interplay between art and our world in this sublimely seductive book.

    The Albingenses believed that the world was created by an evil spirit, and that all worldly things - including the Church - were by nature sinful.Jonathan Sumption's acclaimed history examines the roots of the heresy, the uniquely rich culture of the region which nurtured it, and the crusade launched against it by the Church which resulted in one of the most savage of all medieval wars.'[Sumption] never fails to keep his narrative lively with the particular and the pertinent. He is excellent on the tactics and spirit of medieval warfare.' Frederic Raphael, Sunday Times

    By four o'clock that afternoon the sea was red with blood. It was a victory of the west-the first major victory of Europeans against the Ottoman Empire. In this compelling piece of narrative history, Niccolo Capponi describes the clash of cultures that led to this crucial confrontation and takes a fresh look at the bloody struggle at sea between oared fighting galleys and determined men of faith. As a description of the age-old conflict between Christianity and Islam, it is a story that resonates today.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    The Lost History of Christianity unveils a vast and forgotten network of the world's largest and most influential Christian churches that existed to the east of the Roman Empire. These churches and their leaders ruled the Middle East for centuries and became the chief administrators and academics in the new Muslim empire. The author recounts the shocking history of how these churches—those that had the closest link to Jesus and the early church—died.Jenkins takes a stand against current scholars who assert that variant, alternative Christianities disappeared in the fourth and fifth centuries on the heels of a newly formed hierarchy under Constantine, intent on crushing unorthodox views. In reality, Jenkins says, the largest churches in the world were the “heretics” who lost the orthodoxy battles. These so-called heretics were in fact the most influential Christian groups throughout Asia, and their influence lasted an additional one thousand years beyond their supposed demise.Jenkins offers a new lens through which to view our world today, including the current conflicts in the Middle East, Asia, and Africa. Without this lost history, we lack an important element for understanding our collective religious past. By understanding the forgotten catastrophe that befell Christianity, we can appreciate the surprising new births that are occurring in our own time, once again making Christianity a true world religion.

    He tells of the Nazi cult of the primeval German forest; the play of Christian and pagan myth in Bernini's Fountain of the Four Rivers; and the duel between a monumental sculptor and a feminist gadfly on the slopes of Mount Rushmore. The result is a triumphant work of history, naturalism, mythology, and art. "A work of great ambition and enormous intellectual scope...consistently provocative and revealing."--New York Times"Extraordinary...a summary cannot convey the riches of this book. It will absorb, instruct, and fascinate."--New York Review of Books

      Harris’s action-packed introduction presents a civilization rich in contrasts, combining orthodox Christianity with paganism, and classical Greek learning with Roman power. Frequently assailed by numerous armies—including those of Islam—Byzantium nonetheless survived and even flourished by dint of its somewhat unorthodox foreign policy and its sumptuous art and architecture, which helped to embed a deep sense of Byzantine identity in its people.   Enormously engaging and utilizing a wealth of sources to cover all major aspects of the empire’s social, political, military, religious, cultural, and artistic history, Harris’s study illuminates the very heart of Byzantine civilization and explores its remarkable and lasting influence on its neighbors and on the modern world.

    The story of Pope Joan, an English woman who disguised herself as a man and became pope in the middle of the ninth century, has seized people's imagination for over a thousand years. Despite dismissals of the tale as an improbable--indeed, impossible--historical fantasy, the leg persists. Is the tale nothing more than folklore invented by Protestant propagandists determined to undermine the authority of the papacy? Or did Joan really exist, deceiving the authorities and becoming pope? As the controversy over women in the Catholic priesthood continues and the Church--which, until the Reformation, took the story of Pope Joan as gospel--dispels rumors that will not be quashed, it is time to look beyond the fantasy for facts. In this wide-ranging investigative account, which reaches from secret histories to conspiracy theories, medieval carvings to tarot cards, transvestite saints to a tale about a pope giving birth in the street, Peter Stanford delivers a major piece of historical detective work that may convince even the staunchest of skeptics.

    These beliefs are an essential part of a shared identity. They have a unique power to define - and to divide - us, and are a driving force in the politics of much of the world today. Throughout history they have most often been, in the widest sense, religious.Yet this book is not a history of religion, nor an argument in favour of faith. It is about the stories which give shape to our lives, and the different ways in which societies imagine their place in the world. Looking across history and around the globe, it interrogates objects, places and human activities to try to understand what shared beliefs can mean in the public life of a community or a nation, how they shape the relationship between the individual and the state, and how they help give us our sense of who we are.For in deciding how we live with our gods, we also decide how to live with each other.

    Here are the ideas of apologists, propagandists, and poets about the Crusades, as well as the perceptions and motives of the crusaders themselves and the means by which they joined the movement. The authors describe the elaborate social and civic systems that arose to support the Crusades--taxation, for example, was formalized by the Church and monarchs to raise enormous funds needed to wage war on this scale. And here are vivid descriptions of the battles themselves, frightening, disorienting, and dangerous affairs, with keen and insightful commentary on the reactions of the Muslims to a Christian holy war. Extensively illustrated with hundreds of photographs, paintings, drawings, maps, chronologies, and a guide to further reading, The Oxford Illustrated History of the Crusades even includes coverage of crusades outside the eastern Mediterranean region and post-medieval crusades. From descriptions of the battles and homefront conditions, to a thorough evaluation of the clash (and coalescence) of cultures, to the legacy of the crusading movement that continues into our conflict-torn twentieth-century, to the enduring artistic and social changes that the Crusades wrought, The Oxford Illustrated History of the Crusades offers an informative, engaging, and unsurpassed panorama of one of the great movements in western history.

    It also covers both the larger aspects of heraldry and everyday heraldic uses such as guilds and cities, hospitals and schools, and contains a comprehensive glossary. The international uses of heraldry and the way in which different countries in different ages have interpreted it are also included. Most of Europe and the Americas are covered as well as looking at Scandinavia, Africa and Japan. Intended for both novices and experts, the book has a wide range of content, with specially commissioned artwork from heraldic artists and many previously unpublished illustrations.

    This was not the city of decadence, carnival, and nostalgia familiar to us from later centuries. It was a ruthless imperial city, with a shrewd commercial base, like ancient Athens, which it resembled in its combination of art and sea empire. Venice: Lion City presents a new way of relating the history of the city through its art and, in turn, illuminates the art through the city's history. It is illustrated with more than 130 works of art, 30 in full color. Garry Wills gives us a unique view of Venice's rulers, merchants, clerics, laborers, its Jews, and its women as they created a city that is the greatest art museum in the world, a city whose allure remains undiminished after centuries. Like Simon Schama's The Embarrassment of Riches, on the Dutch culture in the Golden Age, Venice: Lion City will take its place as a classic work of history and criticism.

    A window into the daily life of a medieval household, originally written as instructions for a young wife from her husband-with more than fifty medieval woodcuts and printed in two colors throughout.

    When Jacquest Fournier, Bishop of Pamiers, launched an elaborate Inquisition to stamp them out, the peasants & shepherds he interrogated revealed, along with their position on official Catholicism, many details of their everyday life. Basing his absorbing study on these vivid, carefully recorded statements of peasants who lived more than 600 years ago--Pierre Clergue, the powerful village priest & shameless womanizer is even heard explaining his techniques of seduction--eminent historian Le Roy Ladurie reconstructs the economy & social structure of the community & probes the most intimate aspects of medieval life: love & marriage, gestures & emotions, conversations & gossip, clans & factions, crime & violence, concepts of time & space, attitudes to the past, animals, magic & folklore, death & beliefs about the other world.