The Worlds Literature Illuminated

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1900 edition. Excerpt: ...said I, "by no means. Such works as yours are not to be criticised; everybody is charmed with them. Nevertheless, since you have laid your injunctions upon me to be free and sincere, I will take the liberty to tell you that your last discourse, in my judgment, has not altogether the energy of your other performances. Are not you of the same opinion?' My master grew pale at these words, and said with a forced smile, "So then, Mr. Gil Bias, this piece is not to your taste?" "I don't say so, sir," cried I, quite disconcerted. "I think it excellent, although a little inferior to your other works.' UI understand you," he replied; "you think I flag, don't you? Come, be plain. You believe it is time for me to think of retiring." "I should not have been so bold," said I, "as to speak so freely if your Grace had not commanded me. I do no more, therefore, than obey you; and I most humbly beg that you will not be offended at my freedom." "God forbid," cried he, with precipitation, "God forbid that I should find fault with it. In so doing I should be very unjust. I don't at all take it ill that you speak your sentiment; it is your sentiment only that I find bad. I have been most egregiously deceived in your narrow imderstanding." Though I was disconcerted, I endeavored to find some mitigation in order to set things to rights again. But how is it possible to appease an incensed author, one especially who had been accustomed to hear himself praised?' Say no more, my child," said he; "you are yet too raw to make proper distinctions. Know that I never composed a better homily than that which you disapprove, for my genius, thank Heaven, hath as yet lost nothing...

A look into an enchanting, underexplored genre of illustrated manuscripts that reveals new insights into urban life in the Middle Ages In this innovative study, Nina Rowe examines a curious genre of illustrated book that gained popularity among the newly emergent middle class of late medieval cities. These illuminated World Chronicles, produced in the Bavarian and Austrian regions from around 1330 to 1430, were the popular histories of their day, telling tales from the Bible, ancient mythology, and the lives of emperors in animated, vernacular verse, enhanced by dynamic images. Rowe’s appraisal of these understudied books presents a rich world of storytelling modes, offering unprecedented insight into the non-noble social strata in a transformative epoch. Through a multidisciplinary approach, Rowe also shows how illuminated World Chronicles challenge the commonly held view of the Middle Ages as socially stagnant and homogeneously pious. Beautifully illustrated and backed by abundant and accessible analyses of social, economic, and political conditions, this book highlights the engaging character of secular literature during the late medieval era and the relationship of illustrated books to a socially diverse and vibrant urban sphere.

Recapture the historic grandeur of medieval art with lovingly detailed reproductions ranging from the creation of Eve to the Hundred Years' War. Thirty images include Christian, Muslim, Jewish, and secular sources.

The first critical analysis of Philip Pullman's cross-age fantasy trilogy.

Prior to the invention of the printing press, all books had to be written by hand. Manuscripts are the beautiful manifestation of this craft, and the most precious and expensive of such manuscripts were 'illuminated' through the use of brightly coloured pigments and gold embellishments. Beginning with a fresh and thoughtful introduction to illuminated manuscripts, Illuminated Manuscripts Masterpieces of Art goes on to showcase key works in this stunning artistic genre.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1900 edition. Excerpt: ...written. It is the language of conversation transferred to a book. Cut these words and they would bleed; they are vascular and alive." And also: ' His writing has no enthusiasms, no aspiration; contented, self-respecting, and keeping in the middle of the road. There is but one exception, --in his love for Socrates. In speaking of him, for once his cheek flushes and his style rises to passion.' Montaigne's journey into Germany, Switzerland, and Italy was posterior to the publication of the Essays. The descriptions which he gives in his Journal of Rome, of the Pope, and all he saw, are short, but drawn with the hand of a master. A Diary kept 011 his journey reveals Montaigne eagerly inquiring into the tenets of the Protestants, despite the skeptical tone of his Essays; yet his account of the Reformers is by no means flattering. The first English translation of the Essays of Montaigne was executed by John Florio, Italian and French tutor to Prince Henry, son of James I. (1603). Charles Cotton's translation appeared about 1680. Our extracts are taken from Hazlitt's revision of Cotton's translation. The Author To The Reader. This, reader, is a book without guile. It tells thee, at the very outset, that I had no other end in putting it together but what was domestic and private. I had no regard therein either to thy service or my glory; my powers are equal to no such design. It was intended for the particular use of my relations and friends, in order that, when they have lost me, which they must soon do, they may here find some traces of my quality and humor, and may thereby nourish a more entire and lively recollection of me. Had I proposed to court the favor of the world, I had set myself out in borrowed beauties; but 'twas my wish to be...