maps, genealogy, definitions.First published 1960; reprinted w/revisions 1965; reprinted w/additional revisions 1971.

    The book draws a fascinating picture of the deep links between the cultures across the Mediterranean and explores the ways in which these civilizations continue to be influential to this day. Beginning with the emergence of the earliest Egyptian civilization around 3500 BC, Charles Freeman follows the history of the Mediterranean over a span of four millennia to AD 600, beyond the fall of the Roman empire in the West to the emergence of the Byzantine empire in the East. The author examines the art, architecture, philosophy, literature, and religious practices of each culture, set against its social, political, and economic background. Especially striking are the readable and stimulating profiles of key individuals throughout the ancient world, covering persons like Homer, Horace, the Pharaoh Akhenaten, and Alexander the Great. The second edition incorporates new chapters on the ancient Mediterranean and the Ancient Near East, as well as extended coverage of Egypt. Egypt, Greece and Rome is a superb introduction for anyone seeking a better understanding of the civilizations of the ancient Mediterranean and their legacy to the West.

    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.

    Fifteenth-century handbook, written by a working artist of the day, reveals secrets and techniques of the masters in drawing, oil painting, frescoes, panel painting, gilding, casting, more. Direct link to artists of the Middle Ages. Translation and Introduction by D. V. Thompson. "Delightful flavor..." — N.Y. Herald Tribune.

    The beginnings of Rome, once thought to be lost in the mists of legend, are now being revealed by an ever-increasing body of archaeological evidence, much of it unearthed during the past twenty-five years. This new material has made it possible to trace the development of Rome from an iron-age village to a major state which eventually outstripped its competitors and became a Mediterranean power. The Beginnings of Rome offers new and often controversial answers to major questions such as Rome's relations with the Etruscans, the conflict between patricians and plebeians, the causes of Roman imperialism and the growth of a slave-based economy.

    Many people think of them as "an awe-inspiring group of ascetic, fanatic, and inhuman supermen."Ernest R. Pope knew all too well how illusory this idea was. As senior correspondent for Reuters in Munich from 1936-1941, American Ernest Pope saw the cruel and outrageous behavior of Nazis in their native habitat. In Munich they ran wild, let their hair down, and indulged in every fantasy money and power could avail them. Pope has all the gossip...and the confirmed stories. HISTORY AS IT HAPPENED "I have seen the leading actors in the Nazi tragedy, playing their parts on the Bavarian stage. Long before the climax—the outbreak of the war—I knew what the denouement in Hitler's theater would be."Pope knew, saw, and/or interviewed all the top Nazis and dozens of lower-level officials, including some of Hitler's security. He saw the Nazis for what they were: a corrupt, debauched, all-to-human menace.Once back in the U.S., Pope let loose his frustration and ire at what he'd seen—but couldn't write about when he was reporting from Germany. With great humor and faced-paced prose, he writes of encounters with Hitler, Hess, Streicher, and many more.He was in Munich during the fated compromise with Chamberlain. He reported on the Nazi invasions of Austria and Czechoslovakia.He reported on Hitler's obsession with Dorothy van Bruck's "blitz-tease" and he knew Hitler's English girlfriend, Unity Mitford. AT THE CENTER OF ACTION Pope turns his savage wit and erudition on his former hosts. Fluent in Bavarian German dialect, Pope made many friends in Munich with citizens and officials alike. He heard jokes from Munichers that could get them thrown in a concentration camp and he poked fun at Nazis whenever he dared.On the Austrian border during Hitler's invasion of that country:Guard: “Heil Hitler! What are you doing here?” Pope: “Just enjoying the scenery.” Guard: “Why did you come to Kiefersfelden today?” Pope: “Well, I'll tell you. It's like this. I'm an American student, and I came to Munich when I read the fascinating travel prospectuses which invited me to ‘Visit the beautiful Alps.’ My friend and I have already seen the Alps at Garmisch, so we thought we might look at them today around Kufstein. They really are pretty, in spite of all the uniforms we didn't expect to find here. But I do think it is odd of you to ask me why I am here. For if I were walking in Central Park in New York, I would not expect a policeman to ask me why I wasn't feeding the pigeons in front of the Public Library.”You won't find another account like this of the Nazis in their favorite playground. INCLUDED CHAPTERS: DER FÜHRER AT PLAY MY FRIENDS THE GESTAPO PORTRAIT OF A NAZI GRAFTER HITLER DABBLES IN ART THE ONE-LEGGED BOSS OF BAVARIA CATHOLICISM IN THE NAZI CAPITAL LUNCH WITH JULIUS STREICHER And more Pope turns serious in the final chapters. As he left Germany, he knew he was saying goodbye to friends he would never see again.

    It takes into account new finds as well as new ideas and attitudes to the subject, and emphasizes that Greek art should be seen in its proper context, not that of galleries and museums. 302 illustrations, 73 in color

    On the eve of the battle, a cross appeared to him in the sky with an exhortation, "By this sign conquer." Inscribing the cross on the shields of his soldiers, Constantine drove his rivals into the Tiber and claimed the imperial capital for himself. Under Constantine, Christianity emerged from the shadows, its adherents no longer persecuted. Constantine united the western and eastern halves of the Roman Empire. He founded a new capital city, Constantinople. Thereafter the Christian Roman Empire endured in the East, while Rome itself fell to the barbarian hordes. Paul Stephenson offers a nuanced and deeply satisfying account of a man whose cultural and spiritual renewal of the Roman Empire gave birth to the idea of a unified Christian Europe underpinned by a commitment to religious tolerance.

    But on one rainy Connecticut afternoon, struggling painter William Lomazzo appears at her door. He brings with him a sixteenth-century treatise on art, left remarkably intact; Rose is quickly able to identify the pages as a palimpsest, a document written over a hidden text that had purposely been scraped away. Yet the restoration poses a confounding issue: Rose and William--a married man--are captivated by one another, an unspoken attraction linking them almost instantly.Five centuries earlier, Renaissance-era Venetians find themselves at the mercy of an encroaching Ottoman fleet, preparing for a bloody war. Giovanni Lomazzo, a respected portrait artist still grappling with the death of his wife and young son, is terrified to discover his vision declining with each passing day, forcing him to document his every encounter as he faces the possibility of a completely dark, colorless world. Commissioned to paint the enchanting courtesan of one of Venice's most respected military commanders--what may very well be his final artistic feat--Gio soon finds himself enraptured by a dangerous, magnificent forbidden love. All the while, the threat of the Ottoman Empire looms as the rival army hopes to lay siege to the port city.Spellbound by Gio's revelations, Rose and William find themselves forced to confront the reality of their own mystifying connection. A richly detailed page-turner shadowed by one of history's darkest times, The Lost Diary of Venice weaves a heartbreakingly vivid portrait of two vastly different worlds and two tales of entrancing, unrelenting love.

    He shows how Leonardo's genius was based on skills we can improve in ourselves, such as passionate curiosity, careful observation, and an imagination so playful that it flirted with fantasy. He produced the two most famous paintings in history, The Last Supper and the Mona Lisa. But in his own mind, he was just as much a man of science and technology. With a passion that sometimes became obsessive, he pursued innovative studies of anatomy, fossils, birds, the heart, flying machines, botany, geology, and weaponry. His ability to stand at the crossroads of the humanities and the sciences, made iconic by his drawing of Vitruvian Man, made him history's most creative genius

    Ranging from 700,000 BC to 311 AD, this volume portrays the emergence and development of Egypt from its prehistoric roots to its conquest by the Roman Empire. The contributors--all leading scholars working at the cutting edge of Egyptology--incorporate the latest findings in archaeological research as they chart the principal political events of Egyptian history, from the rise of the Pharaohs and the conquest of Egypt by Alexander the Great, to the ascension of the Ptolemies and the coming of Roman legions. The book also includes the first detailed examinations of three periods which were previously regarded as dark ages. Against the backdrop of the birth and death of ruling dynasties, the writers also examine cultural and social patterns, including stylistic developments in art and literature, monumental architecture, funerary beliefs, and much more. The contributors illuminate the underlying patterns of social and political change and describe the changing face of ancient Egypt, from the biographical details of individuals to the social and economic factors that shaped the lives of the people as a whole. The only up-to-date, single-volume history of ancient Egypt available in English, The Oxford History of Ancient Egypt is a must read for everyone interested in one of the great civilizations of antiquity.

    This book is an in-depth analysis of that dynamic community, focusing primarily on the years 1380-1450 in an examination of the city's physical character, its economic and social structure and developments, its political and religious life, and its cultural achievement. For this edition, Mr. Brucker has added Notes on Florentine Scholarship and a Bibliographical Supplement.

    It also the story about the increasing helplessness Juliet feels as she realises that unlike young men her age, her life will effectively be determined and controlled by others, who see her having an arranged marriage of alliance and becoming a breeder of sons. I am Juliet closely follows the well-known and loved plot of the play, but we also see the point of view of Rob, the thirteen-year-old boy who is the first to play the role of Juliet on the Elizabethan stage. Like many young people today, he too is overwhelmed by 'all those words' that Shakespeare wrote. But Rob realises that the story of love and tragedy is a somewhat simple one and the words are there for their extraordinary beauty and meaning. He will be Juliet and let the power of the words sing - as they still do today.

    

    He had placed it there when they first arrived in Venice. She took it down carefully, feeling it cool and comforting under her shaking fingers.’ Venice 1441: Maria and her brother Daniele arrive in the birthplace of their father, Niccolo dei Conti. An Italian merchant who has travelled far and wide, Niccolo has brought spices from India, lengths of silk and damask from the lands east of India and porcelain; a vase of pure white, its surface decorated with a cobalt blue dragon, the Chinese symbol of good fortune. Maria settles in her new home, watching the magnificent and bustling city come to life each morning from her bedroom window. But while her father is away travelling, she soon finds herself and Daniele in terrible danger. She must protect her brother at whatever cost, and she must guard the delicate vase. London 2015: Single mother Miranda is struggling to make ends meet and build a new life for her and daughter Georgie. When Miranda meets the charming but mysterious Charles, she is intrigued. Could he be her second chance at love? And why is he so fascinated by the old vase sitting on her hall table… A stunning and richly evocative story following the journey of a precious family treasure passed down from one generation to another.