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Princess Lauren falls in love with a beautiful necklace at the Annual Exhibition of Dazzling Diamonds. But she gets into terrible trouble over it. Can Fairy G's magic help?
Princess Chloe can't wait to wear her primrose petticoats at the Ruby Mansions ball. But she's forgotten her invitation! And when Princess Gruella wants to borrow a dress, things get even worse...
The Princess Academy is having a Friendship Festival! Princess Jessica wants to make something special for her friends in the Poppy Room, but will Princess Diamonde spoil everything?
Princess Olivia is chosen to demonstrate the best way to cross a puddle by stepping on a prince's cape—with a real, live prince. But the jealous Diamonde isn't going to let Olivia outshine her. . . .
When a disagreement between Princess Georgia and Princess Diamonde and Princess Gruella occurs, Fairy G's magic pearl must figure out who is right.
Where do Princesses go to school? The Princess Academy! There they learn all they need to know about becoming a proper Princess. With dramas and tiaras, this series is full of things for young readers to identify with and enjoy. Each story revolves around the six members of the Tiara Club, Princesses Emily, Katie, Daisy, Charlotte, Sophia and Alice, and follows their adventures as they pass through each level of schooling, from Grade 1 (How to behave at a Grand Ball) to Grade 6 (How to deal with a Wicked Fairy).
Princess Amy is so excited about the dance competition at the end of term! Will she win enough tiara points to get her ruby sash and ride in a fabulous golden coach?
Fairy G's magic pearl helps to find out who is telling the truth when Princess Georgia states that she has designed a beautiful bouquet, but Princess Diamonde and Princess Gruella claim that the bouquet was their idea.
French delivers the sixth installment of her beloved Tiara Club at Ruby Mansions series--this time featuring Princess Amy. Illustrations.
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.