Bøger om År 1400 til 1499

The Last Supper-oft referred to as The Lord's Supper, Communion, or the Eucharist-is one of the sacraments celebrated in Christian churches as a means of communing with Jesus and as a commemoration of His death. But whether or not one is a Christian, when The Last Supper is mentioned, inevitably the iconic painting by Leonardo da Vinci springs to mind. It has become a part of our collective consciousness.Created toward the end of the 15th century, da Vince painted in the mode of the day, so while the beloved masterpiece is most certainly great art, it is not particularly good history. In fact, Leonardo got it all wrong. The question must be asked, was it intentional or did he have an ulterior motive?Conspiracy theorists point to esoteric connections hidden in the picture. Magdalene cults found Mary as one of the desciples. Musical scholars found examples of Pythagorean musical ratios. Numerologists find the painting to be a playground of numerical references. There have been reported connections between da Vinci and secret cults. And of course there is Dan Brown's wildly popular international bestselling novel, The DaVinci Code. Literally thousands of theologians have attempted to explain the Christian symbolism and truth in the picture and to name the disciples as they sit in the picture.Regardless of how beloved or revered the painting was and is, apart from its symbolic representation, it was not a true representation of the real Last Supper.

His enemies want him to flee. One little girl needs him to stay.Raimond Durand is used to the persecution that comes with spreading the gospel across Italy's Piedmont. But when a snowstorm forces him to seek shelter, he stumbles into the village of Chivasso and meets a little girl named Elionor. A girl the same age his own daughter would have been.Cast out by her greedy aunt, Elionor has made her home in a barn. When Raimond discovers the fate awaiting her, his heart won't let him walk away. But Elionor's aunt and the village of Chivasso make no secret of their proudest moment: they killed the last preacher who came to town.The one man who might help has secrets of his own-secrets that could be Raimond's salvation or his undoing. Rescuing Elionor is a risk Raimond can't afford. Abandoning her is a risk he will not take.Journey through the rugged landscape of fifteenth-century Italy, where faith is tested at every turn and the power of compassion changes lives.

Lorenzo Ghiberti's unfinished Commentaries is the earliest surviving writing by a great artist about theprinciples and goals of art, about his own art, and about the attributes and means necessary for the artist toproduce excellent art.Part I of this study reevaluates the character and purpose of Ghiberti's book and examines its content, structure and organization, sources, dating, literary quality and style, and its place in the literature ofItalian art. It describes each of the book's three commentaries and shows how they are interrelated andtogether form a coherent whole. It discusses Ghiberti's deliberate selection of the excerpts from Latinancient and medieval texts that comprise most of the first and third commentaries and his selection of theartists and works recorded in the second commentary, and it explores the rationale behind these choices. While all three commentaries contribute to understanding Ghiberti's interests and intent, the secondcommentary is the fulcrum of his book and can be fully appreciated only in the context of his writing as awhole. At the same time, it is important in its own right as a key source of information on late thirteenth-and fourteenth-century Tuscan and Roman painting and sculpture and Ghiberti's art. Unlike the poorlytranslated, defective, and often incomprehensible excerpts in the first and third commentaries, the secondcommentary was written almost entirely in Ghiberti's own words and is easily understood. Part II presents a new transcription and annotated English translation of this primary document for thehistory of early Renaissance art and the history of art criticism.

Rémy, un fils de paysan, voit son enfance bouleversée lorsqu'il rencontre la princesse Elena avec qui il se lie d'amitié. Très vite, ils sont séparés par le roi. Rémy est humilié et promet de prouver sa valeur. Dix ans plus tard, il est devenu guérisseur, et Elena, une belle femme au tempérament inconventionnel. Le destin les réunit de nouveau alors qu'il la sauve d'un assassinat, révélant un complot au sein du palais. Pour rester près d'elle, Rémy décide de lui cacher son identité. Promise en mariage à un autre, Elena se bat pour les droits de son peuple et tente de lutter contre son attirance inéluctable pour Rémy qui voit en elle la force que personne ne veut reconnaître.

Isaac Alvarez is a heretic, a reluctant spy, and a murder suspect. Can he prove his innocence and quell a rebellion to reunite his family? Granada, Andalusia, 1499 Forced to convert to Catholicism Isaac remains a Jew at heart. Exiled from Seville by King Ferdinand for heresy he is suspected of murdering the Grand Inquisitor, Torquemada. Did he? Andreas, a priest, has been accused of the murder and imprisoned. Alonso, Torquemada's previous deputy and an old foe of Isaac's, has now returned from exile in the Indies determined to prove his childhood friend's innocence. Isaac now lives with Abdul Rahman - a wealthy Muslim spice merchant - his wife Fatima, and his brother Ali Sina, the last apothecary in the city. He works for Archbishop Talavera. Granada is in turmoil. The rulers coerce Muslims to embrace Catholicism. A rebellion is developing, led by Abdul Rahman. The King instructs Isaac to spy on the rebels. He is conflicted by his loyalty to the brothers and his love for Fatima, but reluctantly agrees.

A history of two centuries of interactions among the areas bordering the western Indian Ocean, including India, Iran, and Africa.

Included in this indispensable book are some of the most significant documents tracing Freemasonry from its early operative roots to the early collections defining the seeds of Speculative Freemasonry. Included are: "Edict of Rothari"; "The Regius Manuscript"; "The Matthew Cooke Manuscript"; "The Torgau Ordinances"; "The Strasburg Manuscript"; "Watson Manuscript"; "The Schaw Statutes"; "St. Clair Charters"; "Harleian Manuscript"; "Inigo Jones Manuscript"; "Thomas Tew Manuscript"; "Edinburgh Register House Manuscript"; "The Kevan Manuscript"; "Ancient Charges of a Free Mason (1723 & 1738)"; "General Regulations of a Freemason" and "The Graham Manuscript". Also included are the essays: "The Old Charges of Freemasonry" and "Freemasonry And The Comacine Masters" by H.L Haywood. 2013 Revised Edition.

The Last Supper-oft referred to as The Lord's Supper, Communion, or the Eucharist-is one of the sacraments celebrated in Christian churches as a means of communing with Jesus and as a commemoration of His death. But whether or not one is a Christian, when The Last Supper is mentioned, inevitably the iconic painting by Leonardo da Vinci springs to mind. It has become a part of our collective consciousness.Created toward the end of the 15th century, da Vince painted in the mode of the day, so while the beloved masterpiece is most certainly great art, it is not particularly good history. In fact, Leonardo got it all wrong. The question must be asked, was it intentional or did he have an ulterior motive?Conspiracy theorists point to esoteric connections hidden in the picture. Magdalene cults found Mary as one of the desciples. Musical scholars found examples of Pythagorean musical ratios. Numerologists find the painting to be a playground of numerical references. There have been reported connections between da Vinci and secret cults. And of course there is Dan Brown's wildly popular international bestselling novel, The DaVinci Code. Literally thousands of theologians have attempted to explain the Christian symbolism and truth in the picture and to name the disciples as they sit in the picture.Regardless of how beloved or revered the painting was and is, apart from its symbolic representation, it was not a true representation of the real Last Supper.

Redreaming the Renaissance offers twelve essays that build on the pathbreaking work of Guido Ruggiero in blending history and literature. Within this volume, contributors take interdisciplinary approaches to examining not only belles lettres but also other forms of artful expression, bringing their fields into conversation and reflecting on the methodology needed to sustain and enrich this conversation.

With impressive literary power, the acclaimed historical novelist and critic Robert Graves tells the story of the tragic and eventful life of Marie Powell, who, at the age of sixteen, was pushed into marrying the man who was England's greatest epic poet--and knew it--John Milton. "A thumping good read." --E.M. Forster At the age of sixteen, Mary Powell marries poet John Milton. Their marriage, which plays out during the English Civil War, is not one of love, but rather a practical arrangement that proves to be a devastating mismatch of temperaments and convictions. Her Royalist sympathies and his ardent parliamentarianism, her independence, and his austere way of life, 1640s England is a hotbed of clashing ideologies and so too is this marriage. The story, which unfolds in Marie's sensitive and searching journals, is a scathing portrait of one of England's most famous poets, a story of literary ambition and masculine egoism, and, like all of Graves' historical novels, a monumental achievement of closely watched history. One the one hand, this is a tender story of the romance Marie Powell found outside the walls of her tyrannical husband's house. On the other it is also a brilliant account of one of the most breathtaking epochs in English history, when that kingdom was ravaged by a bloody civil war and the tides of fortune swayed from one to the other side of the opposing camps--the King against his parliament, tyranny against freedom--culminating in the dramatic execution of Charles I, and the establishment of a republic.