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When his grandmother falls ill, Achilles, along with an unexpected dwarf ally, must venture to the Witch of the Northern Wood for the cure. However, unbeknownst to the travelers, they began a journey that wouldn't end in the gnarled woods of the north. A veiled entity is turning the hand of fate and creating ripples in time that would come to change every fiber of Achilles's being. In his conquest to pursue the man calling himself the Veiled Prince, he must become more than he ever imagined.
A royal wedding awaits the people of Burgdul as two kingdoms will be united. With the coming war, Meiren struggles to gain popularity with her people and prepare. Arlo finds the truth of his origins and travels to the Third Empire amid the growing tension in Burgdul. Achilles has admired the brotherhood he's gained as a squire with hopes to be knighted and earn Meiren's favor. In an attempt to gain control over the elder dragon Wornix's soul, Achilles travels to the Valley of Kings to meet Valron, the Unchallenged King.
After the Trojan war, a Myrmidon is washed upon strange shores, and he learns that he must learn his destiny in order to become more than an ant-sized shadow in the insurmountable shadow of history. "No demigod dreads death. But being mortal, a Myrmidon walks in the shadow of a demigod in order to make peace with death, the rushing dark of it, the unabated truth of the blackness ultimate. Achilles is dead. The Myrmidons have all fallen apart from me, the recipient of fate's undeserved succor. They emerged from the ants on Zeus' sacred oak. Zeus made them vast and innumerable as the ants on the oak. Ants became men and populated Aegina. But now they are nearly without number. Myrmidon, the Thessalian King, is our great ancestor. I feel that I am Aiacos, Achilles' grandfather, who found himself living on an island alone. Zeus gave him comfort by turning ants into people and thereby allowing Aiacos to have company. The Myrmidons were the first to build ships with sails, but now history recedes with a mere, wistful blink. I stand here on the verge of pure, static zero. No thoughts nor memories can I marshal. The ten-year siege of Troy has yielded an afterimage: the blood-rimmed bowl of the ocean being chased by a blankness too beautiful to be called oblivion. History has already marched ahead. And I, an Ant man among the dead shadows of other Ant men, drown in its unparalleled shade. A Myrmidon is an Ant man as he fights with a vast contingent of men. He is never supposed to follow without a lead. He is a man fighting with other men when death breathes the multiplied breath of the enemy. For mortals on a battlefield, death arrives sooner than imminence. Foolishness outlasts fear. I was astounded by my own survival. I stand here alone and undead on a pristine beach. The wind whispers. I trudge along the shore in the hoping of catching an echo in that whisper. I imagine Achilles rising to the throne abdicated by an Agamemnon unfit to rule. An Agamemnon driven mad by the voices of the gods. Achilles sits on the throne and motions for me to come forward. The distance between us no longer seems godlike. I, foolish mortal that I am, once again yield to a foolishness that outlasts fear. Achilles drinks from a bejeweled cup. He drinks from his own mortality. But mortality swallows him before he can swallow it. Then everything dissolves, and I see the past recede. I find myself vainly pursuing destiny's stolen bride. No, it is not Helen. It is a world displaced from its shore. I must regain my purpose and rush past the all-encircling gloom. The Trojan Aeneas escaped with other Trojans before the Greeks besieged the city of Troy. I must find Aeneas. But something else awaits than a fugitive Trojan. I need to find what remains of a world that still beats inside me."
In this full study of the statue, Victorious Youth - the first in nearly 20 years - the author takes into account the most recent art historical information and scientific data about the piece. Included is a complete conservation report.
This insightful volumes the use of imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters - the canonised master Titian and his artistic heir, the little-known Padovanino.
Figural and non-figural supports are a ubiquitous feature of Roman marble sculpture; they appear in sculptures ranging in size from miniature to colossal and of all levels of quality. At odds with modern ideas about beauty, completeness, and visual congruence, these elements, especially non-figural struts, have been dismissed by scholars as mere safeguards for production and transport. However, close examination of these features reveals the tastes and expectations of those who commissioned, bought, and displayed marble sculptures throughout the Mediterranean in the Hellenistic and Roman periods. Drawing on a large body of examples, Greek and Latin literary sources, and modern theories of visual culture, this study constitutes the first comprehensive investigation of non-figural supports in Roman sculpture. The book overturns previous conceptions of Roman visual values and traditions and challenges our understanding of the Roman reception of Greek art.
A collection of essays by the art historian Aby Warburg, these essays look beyond iconography to more psychological aspects of artistic creation: the conditions under which art was practised; its social and cultural contexts; and its conceivable historical meaning.
In the ancient world, terracotta sculpture was ubiquitous. Readily available and economical—unlike stone suitable for carving—clay allowed artisans to craft figures of remarkable variety and expressiveness. Terracottas from South Italy and Sicily attest to the prolific coroplastic workshops that supplied sacred and decorative images for sanctuaries, settlements, and cemeteries. Sixty terracottas are investigated here by noted scholar Maria Lucia Ferruzza, comprising a selection of significant types from the Getty’s larger collection—life-size sculptures, statuettes, heads and busts, altars, and decorative appliqués. In addition to the comprehensive catalogue entries, the publication includes a guide to the full collection of over one thousand other figurines and molds from the region by Getty curator of antiquities Claire L. Lyons. Reflecting the Getty's commitment to open content, Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum is available online at www.getty.edu/publications/terracottas and may be downloaded for free.
The first comprehensive study of the dominant form of solo singing in Renaissance Italy prior to the mid-sixteenth century.