The Art of Chivalry


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The Armored Horse in Europe, 1480-1620


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"This catalogue is issued in conjunction with an exhibition held at The Metropolitan Museum of Art, New York, from February 15, 2005, to January 15, 2006."--BOOK JACKET.




A Deadly Art: European Crossbows, 1250–1850


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"The advent of the crossbow more than 2,500 years ago effected dramatic changes for hunters and warriors. For centuries, it was among the most powerful and widely used handheld weapons, and its popularity endures to this day. A Deadly Art presents a lively, accessible survey of the crossbow's "golden age," along with detailed descriptions of twenty-four remarkable examples. Beginning in the middle ages, the European aristocracy's enthusiasm for the crossbow heralded shooting competitions and pageants that featured elaborately decorated weapons bearing elegant embellishments of rare materials and prized artistry. In addition to being highly functional, these weapons were magnificent works of art. A Deadly Art includes fascinating descriptions of crossbows used by Margaret of Savoy and Holy Roman Emperors Maximilian I and Charles V, among others."--Publisher's description.




Arms & Armor


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Medieval Warfare


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Heroic Armor of the Italian Renaissance


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The re-creation of classically inspired armor is invariably associated with Filippo Negroli, the most innovative and celebrated of the renowned armorers of Milan.




Medieval Warfare


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Hono sapiens, homo pugnans, and so it has been since the beginning of recorded history. In the Middle Ages, especially, armed conflict and the military life were so much a part of the political and cultural development that a general account of this period is, in large measure, a description of how men went to war.




The Central Liberal Truth


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Which cultural values, beliefs, and attitudes best promote democracy, social justice, and prosperity? How can we use the forces that shape cultural change, such as religion, education, and political leadership, to promote these values in the Third World--and for underachieving minorities in the First World? In this book, Lawrence E. Harrison offers intriguing answers to these questions, in a valuable follow-up to his acclaimed Culture Matters.Drawing on a three-year research project that explored the cultural values of dozens of nations--from Botswana, Sweden, and India to China, Egypt, and Chile--Harrison offers a provocative look at values around the globe, revealing how each nation's culture has propelled or retarded their political and economic progress. The book presents 25 factors that operate very differently in cultures prone to progress and those that resist it, including one's influence over destiny, the importance attached to education, the extent to which people identify with and trust others, and the role of women in society. Harrison pulls no punches, and many of his findings are controversial.Contradicting the arguments of multiculturalists, this book contends that when it comes to promoting human progress, some cultures are clearly more effective than others. It convincingly shows which values, beliefs, and attitudes work and how we can foster them."Harrison takes up the question that is at the center of politics today: Can we self-consciously change cultures so they encourage development and modernization?"--David Brooks, New York Times"I can think of no better entrance to the topic, both for what it teaches and the way it invites and prepares the reader to continue. A gateway study."--David S. Landes, author of The Wealth and Poverty of Nations




Rodin's Art


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The late Albert Elsen was the first American scholar to study seriously the work of the French sculptor Auguste Rodin, and the person most responsible for a revival of interest in the artist as a modern innovator--after years during which the sculpture had been dismissed as so much Victorian bathos. After a fortuitous meeting with the financier, philanthropist, and art collector B. Gerald Cantor, Elsen helped Cantor to build up a major collection of Rodin's work. A large part of this collection, consisting of more than 200 pieces, was donated to the Stanford Museum by Mr. Cantor, who died recently. In size it is surpassed only the by the Musée Rodin in Paris and rivaled only by the collection in Philadelphia. In scope the collection is unique in having been carefully selected to present a balanced view of Rodin's work throughout his life. Rodin's Art encompasses a lifetime's thoughts on Rodin's career, surveying the artist's accomplishments through the detailed discussion of each object in the collection. It will begin with essays on the formation of the collection, the reception of Rodin's work, and his casting techniques. The entries that follow are arranged topically and include extensive discussions of Rodin's major projects.