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Two people, isolated by their pasts. An obsessive killer who will force them together. Welcome to Saint's Gate. Emma Sharpe is summoned to a Maine convent, partly for her FBI art crimes work, partly because of her past with the Order. At issue is a mysterious painting of Irish lore and Viking legends. But when the nun who contacted her is murdered, it seems legend is becoming deadly reality. Colin Donovan is one of the FBI's most valuable deep-cover agents. Back home in Maine after his latest mission, a contact clues him in to an intrigue of murder, international art heists and long-held secrets that is too tempting to resist. As danger spirals ever closer, Colin is certain of only one thing—Emma Sharpe is at the center of it all.
Mystery and intrigue abound as an unlikely pair of FBI agents team up to solve this nail-biting murder from New York Times bestselling author Carla Neggers. Emma Sharpe is summoned to a Maine convent, partly for her FBI art crimes work, partly because of her past with the Order. At issue is a mysterious painting of Irish lore and Viking legends. But when the nun who contacted her is murdered, it seems legend is becoming deadly reality. Colin Donovan is one of the FBI’s most valuable deep-cover agents. Back home in Maine after his latest mission, a contact clues him into an intrigue of murder, international art heists and long-held secrets that is too tempting to resist. As danger spirals ever closer, Colin is certain of only one thing—Emma Sharpe is at the center of it all. Previously published
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American Scenic and Historic Preservation Society

Published: 1904

Total Pages: 254


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Saints and Spectacle explains, for the first time, how the spectacurlar gold ground mosaics of the Middle Byzantine period were likely conceived. Through a recreation of the circumstances of this time, Saints and Spectacle brings the Middle Byzantine church to life as the witness to a compelling and fascinating drama.
Lisa Bitel uses the history of two unique holy women--Genovefa of Paris (ca. 420-509) and Brigit of Kildare (ca.452-524)--to reveal how ordinary Europeans lived through Christianization at the dawn of the Middle Ages. Most converts did not have a sudden epiphany, Bitel argues. Instead they learned and lived their new religion in continuous conversation with preachers, saints, rulers, and neighbors. Together, they built their faith over many years, brick by brick, into their churches and shrines, cemeteries, houses, and even their markets and farms.
Java’s pilgrimage culture is a dense, batik-like pattern of contradictions: seriousness collides with laughter; curiosity with bewilderment; piety with scepticism; intense spirituality with, in some places, the joy of shopping. The pilgrimage culture on the island of Java in Indonesia – the world’s largest Muslim country – is a rebuke to the conservative orthodoxy that has been gaining ground in Indonesia’s religious landscape since the 1980s. In the rhetoric of this orthodoxy the “real” Islam is pure and exclusive. Piety comes from obedience to religious authority and its rules. Local pilgrimage is anything but pure and exclusive or rigidly authoritarian. It is powerfully Islamic but it fuses Islam with local history, the ancient power of place and a pastiche of devotional practices with roots deep in the pre-Islamic past. Quietly but tenaciously – just outside the great echo chamber of public space – it is growing as fast as the higher profile neo-orthodoxy. Bandit Saints of Java delves deep under the surface of modern Indonesia, exploring personalities and stories in the weird world of local pilgrimage, where Middle Eastern Islam wrestles with the ancient power of Javanese civilisation. It paints an astonishing portrait of Islam as it is practised today – largely invisible to journalists, scholars and tourists – by many of Java’s 130 million people.
This art book accompanies an art exhibition of the same name at the Church History Museum, The Church of Jesus Christ of Latter-day Saints, Salt Lake City. The book features dozens of paintings by three Mormon painters, John Burton, Josh Clare, and Bryan Mark Taylor, who traveled and painted the Mormon Trail landscape. Each painting is paired with pioneer journal entries. The book gives written and visual context to the pioneers' experience of the trail, bears witness to the land as it exists today, and links the historic experience of pioneers to the challenges of today.