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Charlemagne and Rome is a wide-ranging exploration of cultural politics in the age of Charlemagne. It focuses on a remarkable inscription commemorating Pope Hadrian I who died in Rome at Christmas 795. Commissioned by Charlemagne, composed by Alcuin of York, and cut from black stone quarried close to the king's new capital at Aachen in the heart of the Frankish kingdom, it was carried to Rome and set over the tomb of the pope in the south transept of St Peter's basilica not long before Charlemagne's imperial coronation in the basilica on Christmas Day 800. A masterpiece of Carolingian art, Hadrian's epitaph was also a manifesto of empire demanding perpetual commemoration for the king amid St Peter's cult. In script, stone, and verse, it proclaimed Frankish mastery of the art and power of the written word, and claimed the cultural inheritance of imperial and papal Rome, recast for a contemporary, early medieval audience. Pope Hadrian's epitaph was treasured through time and was one of only a few decorative objects translated from the late antique basilica of St Peter's into the new structure, the construction of which dominated and defined the early modern Renaissance. Understood then as precious evidence of the antiquity of imperial affection for the papacy, Charlemagne's epitaph for Pope Hadrian I was preserved as the old basilica was destroyed and carefully redisplayed in the portico of the new church, where it can be seen today. Using a very wide range of sources and methods, from art history, epigraphy, palaeography, geology, archaeology, and architectural history, as well as close reading of contemporary texts in prose and verse, this book presents a detailed 'object biography', contextualising Hadrian's epitaph in its historical and physical setting at St Peter's over eight hundred years, from its creation in the late eighth century during the Carolingian Renaissance through to the early modern Renaissance of Bramante, Michelangelo, and Maderno.
Written by Richard Hugh Elwood; illustrated by Riley Ann Cohn.
This work is the first volume of two that will be the full report of major excavations carried out by Dumbarton Oaks and the Istanbul Archaeological Museum at Sarachane in the heart of ancient Constantinople. This volume includes discussion of excavation and stratigraphy; catalogs of sculpture, revetment, mosaic, small finds and other materials: and general treatment of architecture, sculpture, and history of the site. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Provides the first full study of the predecessor church of St Peter's Basilica in Rome, from late antique construction to Renaissance destruction.
The story of a relationship across two decades, of Jolene's search for Martin Sloane when one day he disappears from their home without warning or explanation, is told in a novel that brilliantly and movingly explores the vagaries of love and friendship, the burdens of personal history, and the enigmatic power of art.
A Room Without Toys is essentially the story of Victoria Windsor, beautiful and brilliantly gifted star of the London stage and apparently a woman to be envied. Yet when we go behind the velvet curtain which would ordinarily separate the actress from her audience, we find the reality of her life to be quite different. From a childhood which with one touching exception is a lonely one, we follow her through the frustration of endless auditions to the years of growing theatrical renown-years which at the same time are ironically the emptiest of her life-and finally to her meeting with the one man able to awaken her to her full potential, both as a human being and as a woman. The theme of all this is stated in the title for through much of Victorias life, she is indeed like a child in a room without toys. Many different elements combine to make this a compelling and yet highly readable novel. 1) A strong central character equally as fascinating as any of the real life actresses who has recently felt the urge to tell all in an autobiography. 2) The elegance and charm of its London setting-London with its theatres, its parks, its pubs, its centuries old association with the majesty of the British crown. 3) The glimpse it provides of the backstage world of the theatre-a world most people would otherwise never see. A Room Without Toys is more, however, than merely the whole constituted of these parts which are, after all, only things of the surface and the novel goes much deeper than that. Will a child starved for love and caring grow into an emotionally crippled adult for whom normal, interpersonal relationships are all but impossible? It is this vital psychological issue which the work attempts to explore as slowly Victoria Windsor learns to believe in herself, learns to trust and most important of all, learns to love.
Jenna Braden had a dream of expanding The Acorn Cafe, and she was determined to make it a reality. She hires talented chef Colton Miller, and as the cafe's grand reopening approaches, they find themselves flirting and growing closer. When his hotshot brother unexpectedly arrives, Colton's feelings of inferiority resurface, forcing him to relive the trauma of his past. Will Colton face his inner demons, or will his insecurities prevent him from being with the woman he loves? This story includes instances of physical assault, negative self-talk, and verbal and emotional abuse.