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Before the Prince of Alcea can secure the Dwarven Ruby for the Sword of Heavens, he must first find an ancient magical shield created by dwarven magicians eons ago. The shield was carried into battle against the goblins, but the dwarves that carried it have never been heard from again. Meanwhile, the mysteriously senile Mage entices some of the Children of the Ancient Prophecy to join him in what may be a suicide attack of the Imperial Palace of Emperor Hanchi. The Contest of Power reaches a critical stage in Tagaret, and gypsy rebels must determine what the Ancient Prophecy means to them. Discover a world of might, magic, and intrigue as the search for the fourth gem of the Sword of Heavens brings danger to a new level.
The mysteriously senile Mage entices some of the Children to join him in what may be a suicide attack of the Imperial Palace of Emperor Hanchi. The Contest of Power reaches a critical stage, and gypsy rebels must determine what the Ancient Prophecy means to them. Discover a world of might, magic, and intrigue as the search for the fourth gem of the Sword of Heavens brings danger to a new level.
As two continents prepare for a world-wide war, a small group of Alceans plot to free the Dielderal elves from the grip of the Federation. The goal is to make the elves simply disappear, but over a thousand elven children are held captive in the four major cities of the Federation, and the Dielderal elves will not flee while their children are endangered. Complicating matters are the 'births' of a new breed of demonkin, the Claws of Alutar. While the K'san demonkin are charged with crushing Alcea, the Claws of Alutar are singular in purpose. Their goal is to assassinate the heroes of the Mage, and their victory would spell far more than defeat for Alcea, as the world would crumble into a decaying ball of misery.
Lord Marak tries to gain support from the lords of Khadora as the Jiadin invasion begins. Complicating the situation is the arrival of a male mage, something unheard of in Khadora.
Posing as a merchant's warrior, the Avenging Shadow sneaks into the Northlands to learn what the rogue mages have in store for Amica, but the enemy is waiting for him and seals the mountain pass that is his only path of escape.
When an orphan adult crossed over to another world and inadvertently obtained the mysterious ring, he or she embarked on a different cultivation path. He trained in the natural energy of the world, then fused it with his magical beast techniques, thus beginning his and his magical beast brothers' life of adventure. To punish adultery is my hobby, to help the world to alleviate poverty is my ideal! Other than having more gold coins, more brothers, and more wisdom, there were only a few other things ...
Volumes for 1898-1968 include a directory of publishers.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.