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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Italian comedians attracted audiences to performances at every level, from the magnificent Italian, German and French court festival appearances of Orlando di Lasso or Isabella Andreini, to the humble street trestle lazzi of anonymous quacks. The characters they inspired continue to exercise a profound cultural influence, and an understanding of the commedia dell'arte and its visual record is fundamental for scholars of post-1550 European drama, literature, art and music. The 340 plates presented here are considered in the light of the rise and spread of commedia stock types, and especially Harlequin, Zanni and the actresses. Intensively researched in public and private collections in Oxford, Munich, Florence, Venice, Paris and elsewhere, they complement the familiar images of Jacques Callot and the Stockholm Recueil Fossard within a framework of hundreds of significant pictures still virtually unknown in this context. These range from anonymous popular prints to pictures by artists such as Ambrogio Brambilla, Sebastian Vrancx, Jan Bruegel, Louis de Caulery, Marten de Vos, and members of the Valckenborch and Francken clans. This volume, essential for commedia dell'arte specialists, represents an invaluable reference resource for scholars, students, theatre practitioners and artists concerned with commedia-related aspects of visual, dramatic and festival culture, in and beyond Italy.
Includes The Monte Carlo Proposal by Lucy Gordon, Blackmailed by Diamonds, Bound By Marriage by Sarah Morgan, The Devil Bargain by Robyn Donald, Pregnancy of Passion by Lucy Monroe, Substitute Finacee by Lee Wilkinson and Her Secret Bridegroom by Kate Walker.
A woman turns the tables on an alpha male billionaire in this contemporary romance by a USA Today–bestselling author. The Brandizi Diamond has been in the Kyriacou family for generations. So, when it comes into Angelina Littlewood’s possession, Nikos Kyriacou must get the jewel back. But Angie has her own reasons for keeping it—and for wanting to teach arrogant Greek Nikos a lesson! What better way than to agree to marriage? But then Angie discovers what being Nikos’s wife entails . . . He has one demand: he’s her husband and she’ll share his bed!
It was a year since their tempestuous affair had ended. So why was he back? Elisa trusted Salvatore di Vitale as far as she could throw him. And, as the wealthy Sicilian was over six feet tall, that wasn't very far. Salvatore told Elisa he had come to protect her. And if their close proximity led to passion…and if passion should lead to pregnancy…all the better! Because then Elisa would have to marry him, which was Salvatore's plan all along.
Blaze Rawdon is convinced Francesca has a guilty secret...and when his new fiancée disappears on the eve of their engagement party, Blaze ruthlessly blackmails Francesca into becoming a temporary stand-in. Francesca is forced to play along—only, she can’t afford to fall in love with Blaze. Their brief affair three years ago ended in tears, and Francesca is determined that although she may be his substitute fiancée, she’ll resist becoming Blaze’s bride!
L'a. traccia una biografia che segue quella dell'Amoretti del 1804.