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THE GARGOYLE PRINCE is a steamy romance set in alternate-history steampunk France during a magical civil war. When Noémie, Third Princess of Normandy, is forced to accept a gargoyle as her bodyguard, she is determined to hate him. But a series of assassination attempts brings the pair closer together, and she begins to realize that there is much more to her bodyguard than stone and bat-wings and magic. Together, Noémie and Gideon begin to process the grief and loss that each of them has endured. Slowly they unravel the mystery of his origins and uncover secrets that could affect the outcome of the war. This romance is told in dual point-of-view and includes an HEA ending, along with some favorite tropes and scenarios.
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.
A field guide to the world's scary creatures, along with an intriguing explanation why monsters won't go away. Gilmore considers the role of monsters in the human psyche and in society, looking at art, folktales, fantasy, literature, and other sources.
Online ed. provides access to the entire 45,000-plus articles of Grove's Dictionary of art (1996, 34 vols.) with constant additions of new material and updates to the text, plus extensive image links.
History is presented with a personal viewpoint of how and why it may have happened.