In a city-state known for magnificence, where love affairs and conspiracies play out amidst brilliant painters, poets and musicians, the powerful and ambitious Alfonso d'Este, duke of Ferrara, takes a new bride. Half of Europe is certain he murdered his first wife, Lucrezia, the luminous child of the Medici. But no one dares accuse him, and no one has proof-least of all his second duchess, the far less beautiful but delightfully clever Barbara of Austria. At first determined to ignore the rumors about her new husband, Barbara embraces the pleasures of the Ferrarese court. Yet wherever she turns she hears whispers of the first duchess's wayward life and mysterious death. Barbara asks questions—a dangerous mistake for a duchess of Ferrara. Suddenly, to save her own life, Barbara has no choice but to risk the duke's terrifying displeasure and discover the truth of Lucrezia's death—or she will share her fate.

    This book, by the noted historian who served as a consultant for the film, adds new dimensions to this famous legend.

    The historical breadth of Boswell's research (from the Greeks to Aquinas) and the variety of sources consulted (legal, literary, theological, artistic, and scientific) make this one of the most extensive treatments of any single aspect of Western social history. The product of ten years of research and analysis of records in a dozen languages, this book opens up a new area of historical inquiry and helps elucidate the origins and operations of intolerance as a social force.

    This provocative book shows that Europe in the Middle Ages was as much a product of a process of conquest and colonization as it was later a colonizer.

    This text sets out to explain what life was like in the most immediate way, through taking the reader to the Middle Ages, and showing everything from the horrors of leprosy and war to the ridiculous excesses of roasted larks and haute couture.

    His disturbing narrative opens up an entire culture, revealing the dark side of Renaissance man and politician Lorenzo de' Medici.On a Sunday in April 1478, assassins attacked Lorenzo and his brother as they attended Mass in the cathedral of Florence. Lorenzo scrambled to safety as Giuliano bled to death on the cathedral floor. April Blood moves outward in time and space from that murderous event, unfolding a story of tangledpassions, ambition, treachery, and revenge. The conspiracy was led by one of the city's most noble clans, the Pazzi, financiers who feared and resented the Medici's swaggering new role as political bosses--but the web of intrigue spread through all of Italy. Bankers, mercenaries, the Duke of Urbino, the King of Naples, and Pope Sixtus IV entered secretly into the plot. Florence was plunged into a peninsular war, and Lorenzo was soon fighting for his own and his family's survival.The failed assassination doomed the Pazzi. Medici revenge was swift and brutal--plotters were hanged or beheaded, innocents were hacked to pieces, and bodies were put out to dangle from the windows of the government palace. All remaining members of the larger Pazzi clan were forced to change theirsurname, and every public sign or symbol of the family was expunged or destroyed.April Blood offers us a fresh portrait of Renaissance Florence, where dazzling artistic achievements went side by side with violence, craft, and bare-knuckle politics. At the center of the canvas is the figure of Lorenzo the Magnificent--poet, statesman, connoisseur, patron of the arts, and ruthlessboss of bosses. This extraordinarily vivid account of a turning point in the Italian Renaissance is bound to become a lasting work of history.

    She came from what is perhaps the world's most mysterious and imaginatively-crafted chess set -- 73 carved pieces probably dating to the 1200's. The famous Chess men (and women) comprise the world's oldest complete chess set (or parts of several sets). The treasure trove was discovered 15 feet deep in the sand in Lewis in Scotland's northern Outer Hebrides in the late 19th century. Scandinavian outposts were known to be there as early as the 1200's when the pieces were probably crafted. That chess was played in the Middle Ages with such extraordinary works of art tantalizes the imagination. Who were these people whose likenesses have been so whimsically and realistically depicted that they come alive for us today? Who played the game? These kings and queens, bishops with miters on their heads, knights mounted on rather small horses and holding spears and shields, rooks with shields and a wild expression, and pawns in the shape of obelisks -- all so very human. Some of the pieces contain red stains, suggesting perhaps that the sets had some colorings unlike modern black and white pieces. "This is the first forensic account of modern research into the Chessmen," according to Ancientchess.com. The "unmasked" in the book's title refers to new controversies about their origin and about who might have owned - and lost - them - and about the trade and state of society where they were crafted.

    Here, from New York Times bestselling historian Vincent Cronin, is the extraordinary story of Italy - from the birth of the Roman Empire to the rise of the city-states through the Renaissance and the making of modern Italy.

    A visual trek through the thirteenth and fourteenth centuries—with seasoned historian and expert on medieval iconography Chiara Frugoni as guide—this book offers a vast array of images and vignettes that depicts the everyday hardships and commonplace pleasures for people living in the Middle Ages.A Day in a Medieval City breathes life into the activities of the city streets, homes, fields, schools, and places of worship. With entertaining anecdotes and gritty details, it engages the modern reader with its discoveries of the religious, economic, and institutional practices of the day. From urban planning and education to child care, hygiene, and the more leisurely pursuits of games, food, books, and superstitions, Frugoni unearths the daily routines of the private and public lives of citizens. A Day in a Medieval City is a charming portal to the Middle Ages that you'll surely want with you on your travels to Europe—or in your armchair.“With its color illustrations of rare paintings and artifacts, this thoughtful and informative, elegantly fashioned excursion into the life of a medieval city is a veritable feast of information and visual delights. Frugoni is a marvelously experienced historical travel guide.”—Choice “Stunningly beautiful . . . and a good read as well. . . . It’s amazing how much wealth of detail and image Ms. Frugoni has packed into this delightful, relatively small book.”—Steve Goode, Washington Times“Charming and insightful. . . .Written with exceptional grace and infused with a warm sense of humanity.”—Library Journal

    Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life. Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others. Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art.

    In 1870 the whole astonishing cache, containing some 150,000 letters and great numbers of business documents, came to light. The Marchesa Origo has drawn on this material to paint, in detail, a picture of Italian domestic life on the eve of the Renaissance.

    Through her research, she dreamed of revolutionizing medicinal practices. With her step-mother’s guidance, Ava worked tirelessly to achieve her goal.But everything changed when her father announced that it was her duty to wed. In fact, there were two potential matches for her coming to meet her.Betrayal never tasted so bitter…Niall MacNeill and Ian MacThomas are the two men fighting for Ava’s hand. While both of them are heirs of lairds, they couldn’t be more different. Niall is ambitious, with an eagerness for leadership and a wish to start his own family. Iain, on the other hand, values the simpler things in life. Riches and political conspiracies weren’t his cup of tea.Ava is called to choose but before she does, a family secret surfaces.Heartbroken, she feels lost and alone.Only one man can truly help her heal, but even he is not to be trusted…What family secret has been buried over the years? And who is the one who’s holding Ava’s fate?Only she can heal him, only he can set her free…

    CHAPTER III - THE FRATICELLI CHAPTER IV - POLITICAL HERESY UTILIZED BY THE CHURCH CHAPTER V - POLITICAL HERESY UTILIZED BY THE STATE CHAPTER VI- SORCERY AND OCCULT ARTS CHAPTER VII - WITCHCRAFT CHAPTER VIII - INTELLECT AND FAITH CHAPTER IX - CONCLUSION

    His name was Peter Morrone, a hermit, a founder of a religious order, and, depending on whom you talk to, a reformer, an instigator, a prophet, a coward, a saint, and possibly the victim of murder. A stroke of fate would, practically overnight, transform this humble servant of God into the most powerful man in the Catholic Church. Half a year later, he would be the only pope in history to abdicate the chair of St. Peter, an act that nearly brought the papacy to its knees. What led him to make that decision and what happened afterward would be shrouded in mystery for centuries. The Pope Who Quit pulls back the veil of secrecy on this dramatic time in history and showcases a story that involves deadly dealings, apocalyptic maneuverings, and papal intrigue.

    His wide cultural tastes, his apparent tolerance of Jews and Muslims, his defiance of the papacy, and his supposed aim of creating a new, secular world order make him a figure especially attractive to contemporary historians. But as David Abulafia shows in this powerfully written biography, Frederick was much less tolerant and far-sighted in his cultural, religious, and political ambitions than is generally thought. Here, Frederick is revealed as the thorough traditionalist he really was: a man who espoused the same principles of government as his twelfth-century predecessors, an ardent leader of the Crusades, and a king as willing to make a deal with Rome as any other ruler in medieval Europe. Frederick's realm was vast. Besides ruling the region of Europe that encompasses modern Germany, Czechoslovakia, Poland, eastern France, and northern Italy, he also inherited the Kingdom of Sicily and parts of the Mediterranean that include what are now Israel, Lebanon, Malta, and Cyprus. In addition, his Teutonic knights conquered the present-day Baltic States, and he even won influence along the coasts of Tunisia. Abulafia is the first to place Frederick in the wider historical context his enormous empire demands. Frederick's reign, Abulafia clearly shows, marked the climax of the power struggle between the medieval popes and the Holy Roman Emperors, and the book stresses Frederick's steadfast dedication to the task of preserving both dynasty and empire. Through the course of this rich, groundbreaking narrative, Frederick emerges as less of the innovator than he is usually portrayed. Rather than instituting a centralized autocracy, he was content to guarantee the continued existence of the customary style of government in each area he ruled: in Sicily he appeared a mighty despot, but in Germany he placed his trust in regional princes, and never dreamed of usurping their power. Abulafia shows that this pragmatism helped bring about the eventual transformation of medieval Europe into modern nation-states. The book also sheds new light on the aims of Frederick in Italy and the Near East, and concentrates as well on the last fifteen years of the Emperor's life, a period until now little understood. In addition, Abulfia has mined the papal registers in the Secret Archive of the Vatican to provide a new interpretation of Frederick's relations with the papacy. And his attention to Frederick's register of documents from 1239-40--a collection hitherto neglected--has yielded new insights into the cultural life of the German court. In the end, a fresh and fascinating picture develops of the most enigmatic of German rulers, a man whose accomplishments have been grossly distorted over the centuries.