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.

    Here, a young graduate student from Rome, Francesca Cappelletti, makes a discovery that inspires a search for a work of art of incalculable value, a painting lost for almost two centuries.The artist was Caravaggio, a master of the Italian Baroque. He was a genius, a revolutionary painter, and a man beset by personal demons. Four hundred years ago, he drank and brawled in the taverns and streets of Rome, moving from one rooming house to another, constantly in and out of jail, all the while painting works of transcendent emotional and visual power. He rose from obscurity to fame and wealth, but success didn't alter his violent temperament. His rage finally led him to commit murder, forcing him to flee Rome a hunted man. He died young, alone, and under strange circumstances.Caravaggio scholars estimate that between sixty and eighty of his works are in existence today. Many others -- no one knows the precise number -- have been lost to time. Somewhere, surely, a masterpiece lies forgotten in a storeroom, or in a small parish church, or hanging above a fireplace, mistaken for a mere copy.Jonathan Harr embarks on a journey to discover the long-lost painting known as The Taking of Christ -- its mysterious fate and the circumstances of its disappearance have captivated Caravaggio devotees for years. After Francesca Cappelletti stumbles across a clue in that dusty archive, she tracks the painting across a continent and hundreds of years of history. But it is not until she meets Sergio Benedetti, an art restorer working in Ireland, that she finally manages to assemble all the pieces of the puzzle.

    There, the first printers, publishing houses and bookstores open for business. Among the innovators who are driving these new cultural enterprises, one remarkable visionary, Aldo Manuzio, stands head and shoulders above the rest. He is credited with inventing the figure of the modern publisher. Manuzio will publish the first printed editions of the Talmud, the Koran, the works of Erasmus of Rotterdam and classics of the Green and Latin poetry and theater, bringing about a true revolution and the birth of the world.

    In a revised edition of Furta Sacra, Patrick Geary considers the social and cultural context for these acts, asking how the relics were perceived and why the thefts met with the approval of medieval Christians.

    She was one of Rome's most talented painters, even if no one knew her name. But Rome in 1610 was a city where men took what they wanted from women, and in the aftermath of rape Artemisia faced another terrible choice: a life of silence or a life of truth, no matter the cost.He will not consumemy every thought.I am a painter.I will paint.I will show youwhat a woman can do.

    A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

    Recognizing that The Great War was the psychological turning point . . . for modernism as a whole, author Modris Eksteins examines the lives of ordinary people, works of modern literature, and pivotal historical events to redefine the way we look at our past and toward our future.

    This book combines narrative, analysis, historiography, and scores of contemporary illustrations. This work aims to provide an insight into the misery of the famine and the nightmare of mass evictions that followed.

    Through vividly detailed parish records kept from 1520 to 1574 by Sir Christopher Trychay, the garrulous priest of Morebath, we see how a tiny Catholic community rebelled, was punished, and reluctantly accepted Protestantism under the demands of the Elizabethan state."Significant and striking."-Peter Ackroyd, The Times (London); "A vivid piece of microhistory . . . a rich and often witty portrait."-Alexandra Walsham, History; "This book is a gem: small, colourful, many-faceted."-Lucy Wooding, Reviews in History; "Stories like the one Duffy skillfully tells here, for historian and general reader alike . . . bear remembering." -Paul Lewis, New York Times Book Review Author Biography: Eamon Duffy is professor of the History of Christianity at the University of Cambridge and president of Magdalene College. His previous books include The Stripping of the Altars: Traditional Religion in England 1400-1580, and Saints and Sinners: A History of the Popes, both published by Yale University Press. Winner of the Hawthornden Prize for Literature.Synopsis taken from the inside-front jacket:In the fifty years between 1530 and 1580, England moved from being one of the most lavishly Catholic countries in Europe to being a Protestant nation, a land of whitewashed churches and anti-papal preaching. What was the impact of this religious change in the countryside? And how did country people feel about the revolutionary upheavals that transformed their mental and material worlds under Henry VIII and his three children.In this book a reformation historian takes us inside the mind and heart of Morebath, a remote and tiny sheep farming village where thirty-three families worked the difficult land on the southern edge of Exmoor. The bulk of Morebath’s conventional archives have long since vanished. But from 1520 to 1574, through nearly all the drama of the English Reformation, Morebath’s only priest, Sir Christopher Trychay, kept the parish accounts on behalf of the churchwardens. Opinionated, eccentric, and talkative, Sir Christopher filled these vivid scripts for parish meetings with the names and doings of his parishioners. Through his eyes we catch a rare glimpse of the life and pre-reformation piety of a sixteenth-century English village.The book offers a unique window into a rural word in crisis as the reformation progressed. Sir Christopher Trychay’s accounts provide direct evidence of the motives which drove hitherto law-abiding West-country communities to participate in the doomed Prayer Book Rebellion of 1549 – a siege that ended in bloody defeat and a wave of executions. Its church bells confiscated and silenced, Morebath shared in the punishment imposed on all the towns and villages of Devon and Cornwall. Sir Christopher documents the changes in the community reluctantly Protestant, no longer focussed on the religious life of the parish, and increasingly preoccupied with the secular demands of the Elizabethan state, the equipping of armies, and the payment of taxes. Morebath’s priest, garrulous to the end of his days, describes a rural world irrevocably altered, and enables us to hear the voices of his villagers after four hundred years of silence.”

    A truly landmark study, The Hour of Our Death reveals a pattern of gradually developing evolutionary stages in our perceptions of life in relation to death, each stage representing a virtual redefinition of human nature. Starting at the very foundations of Western culture, the eminent historian Phillipe Aries shows how, from Graeco-Roman times through the first ten centuries of the Common Era, death was too common to be frightening; each life was quietly subordinated to the community, which paid its respects and then moved on. Aries identifies the first major shift in attitude with the turn of the eleventh century when a sense of individuality began to rise and with it, profound consequences: death no longer meant merely the weakening of community, but rather the destruction of self. Hence the growing fear of the afterlife, new conceptions of the Last Judgment, and the first attempts (by Masses and other rituals) to guarantee a better life in the next world. In the 1500s attention shifted from the demise of the self to that of the loved one (as family supplants community), and by the nineteenth century death comes to be viewed as simply a staging post toward reunion in the hereafter. Finally, Aries shows why death has become such an unendurable truth in our own century--how it has been nearly banished from our daily lives--and points out what may be done to re-tame this secret terror. The richness of Aries's source material and investigative work is breathtaking. While exploring everything from churches, religious rituals, and graveyards (with their often macabre headstones and monuments), to wills and testaments, love letters, literature, paintings, diaries, town plans, crime and sanitation reports, and grave robbing complaints, Aries ranges across Europe to Russia on the one hand and to England and America on the other. As he sorts out the tangled mysteries of our accumulated terrors and beliefs, we come to understand the history--indeed the pathology--of our intellectual and psychological tensions in the face of death.

    Alone and pregnant. Bridget gave birth to a boy, John, who died at the home less than two years later. Her second child was once again delivered into the care of the nuns and was taken from her. She would go on to marry a wonderful man and have a daughter Anna Corrigan, but it was only after Bridget's death that Anna discovered she had two brothers her mother had never spoken about. Anna became compelled to try and uncover any information she could about her baby brothers. What followed was the revelation that the remains of 796 babies were buried on the site of the Tuam Mother and Baby Home. Anna was left to wonder, were her brothers among them? Here, with Alison O'Reilly, she pieces together the mystery.

    Deployed today to celebrate subjects as various as the grandeur of art, the beauty of the human form, and the universality of the human spirit, the drawing turns up just about everywhere: in books, on coffee cups, on corporate logos, even on spacecraft. It has, in short, become the world’s most famous cultural icon—and yet almost nobody knows about the epic intellectual journeys that led to its creation. In this modest drawing that would one day paper the world, da Vinci attempted nothing less than to calibrate the harmonies of the universe and understand the central role man played in the cosmos.Journalist and storyteller Toby Lester brings Vitruvian Man to life, resurrecting the ghost of an unknown Leonardo. Populated by a colorful cast of characters, including Brunelleschi of the famous Dome, Da Vinci’s Ghost opens up a surprising window onto the artist and philosopher himself and the tumultuous intellectual and cultural transformations he bridged. With sparkling prose and a rich variety of original illustrations, Lester captures the brief but momentous time in the history of western thought when the Middle Ages gave way to the Renaissance, art and science and philosophy converged as one, and all seemed to hold out the promise that a single human mind, if properly harnessed, could grasp the nature of everything.

    Though they were often ridiculed or ignored by their contemporaries, today astonishing sums are paid for the works of these artists, whose paintings are celebrated for their ability to capture the moment, not only in the fleeting lights of a landscape but in scenes of daily life. Their dazzling pictures are familiar—but how well does the world know the Impressionists as people? The Private Lives of the Impressionists tells their story. It is the first book to offer an intimate and lively biography of the world's most popular group of artists.In a vivid and moving narrative, biographer Sue Roe shows the Impressionists in the studios of Paris, rural lanes of Montmartre and rowdy riverside bars as Paris underwent Baron Haussmann's spectacular transformation. For more than twenty years they lived and worked together as a group, struggling to rebuild their lives after the Franco-Prussian War and supporting one another through shocked public reactions to unfamiliar canvases depicting laundresses, dancers, spring blossoms and boating scenes.This intimate, colorful, superbly researched account takes us into their homes and studios, and describes their unconventional, volatile and precarious lives, as well as the stories behind the paintings.

    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.

    John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.