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Mistress To the Marquee They whisper her name in the ballroom's shadows; the marquis's mistress! It will take all of Alice Sweetly's renowned acting skills to play this part: smile until it no longer hurts, until they believe your lie, until you believe. Pretend he means nothing. If the Marquis of Razeby thinks he can let his mistress go easily, he is so very wrong. Each night she appears before a rapturous Covent Garden audience, taunting him with her beauty. But Razeby must marry, and while Alice could grace his bed she can never grace his arm. Mistaken Mistress To her spiteful aunt, Kathryn Marchant is little more than a servant: she does not deserve a place in polite society. That's about to change, when Kathryn accidentally falls into the arms of the most notorious rake of them all. Lord Ravensmede draws the line at seducing virgins. Yet once he has tasted the lips of the delectable Miss Marchant, he wants her! He has the distinct impression that she's in need of a protector, but, no matter how much he strives to be honorable, her temptation may prove just too sweet to resist!
Beautiful Grace Paget has no reason not to believe these words. After all, she was kidnapped, spirited away to a remote country manor, and told she is to grant this man his every desire . . . or lose her life. But Grace is no common trollop. So she risks everything to save her virtue by planning a daring escape, even though she finds herself tempted by this handsome man. There is something in his eyes that makes her wonder if he is as dangerous as he would have her believe. Sheene knew nothing of the plan to bring him this woman. Locked up as a prisoner, called "mad" by all of the world, he will do anything to reclaim his life, and Grace's sensuous beauty has distracted him from his goals. And although he finds her irresistible, he is horrified to hold her against her will. Now, together, they must both revolt against the strange set of circumstances that have forced them together—for only then will Grace truly surrender to him . . . forever.
"A Christian Woman" by condesa de Emilia Pardo Bazán (translated by Mary Springer). Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.
"The Memoirs of Harriette Wilson", Harriette Wilson. Harriette Wilson was a celebrated British Regency courtesan (1786-1845).
A Passion for Performance: Sarah Siddons and Her Portraitists brings together three engaging essays – by Robyn Asleson, Shelley Bennett and Mark Leonard, and Shearer West – that recreate the eventful life, both on and off the stage, of the great eighteenth-century actress Sarah Siddons. Siddons was renowned for her bravura performances in tragic roles, and her fame was enhanced by the many portraits of her painted by the leading artists of the day. The greatest of these was Sir Joshua Reynolds’s Sarah Siddons as the Tragic Muse, a painting now in the Huntington Art Collections and recently studied at the Getty Center. A Passion for Performance places this magnificent portrait within the context of Siddons’s career as an actress and cultural icon. Includes a chronology of Siddons’s life by volume editor Robyn Asleson.