By Matt Rees
Italy, 1605: For the ruling Borghese kin, Rome is a spot of grand palazzos and frescoed cathedrals. For the lowly artist Caravaggio, it's a position of tough bars, knife fights, and grubby whores. until eventually he's commissioned to color the Pope...
Soon, Caravaggio has won access into the Borgia family's internal circle, and turns into the main celebrated artist in Rome. but if he falls for Lena, a low-born fruit-seller, and paints her into his Madonna sequence as an easy peasant girl, Italian society is outraged. Discredited as an artist, yet unwilling to retract his imaginative and prescient of the girl he loves, Caravaggio is compelled right into a duel - and murders a nobleman.
Even his robust consumers can't shield him from a dying sentence. So Caravaggio flees to Malta, the place, ahead of he should be pardoned, he needs to suffer the rigorous education of the Knights of Malta. His work proceed to talk of his love for Lena. yet prior to he can go back to her, as a Knight and a noble,...
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Extra resources for A Name in Blood
On the other hand, that Byzantium is qualified only once as ‘qui et Constantinopoli’ (138, 5), and then not in the earliest manuscript, suggests a date for the collection before the city was rebaptised in AD 324. Indeed, there is nowhere any sign of the Christianisation of the toponymy. 53 However, somewhat less canonically, it proceeds in a counter-clockwise direction around the shores of the Mediterranean from Mauretania to Africa and, having listed routes through Libya to Egypt, skips across to the Tyrrhenian islands (Sardinia, Corsica and Sicily) and on to Italy.
19 Furthermore, Eumenius stresses the utility of his proposed map as a visual aid to instilling geographical knowledge in the young, and asserts that his addressee has witnessed this teaching method elsewhere (ut ipse uidisti, credo). 20 For Eumenius and the Theodosian epigram are unanimous in characterising the content of their subject as seas, mountains, rivers, harbours, straits and cities. Their silence on roads is signiﬁcant. Given their visibility on the Peutinger Table, if roads had been depicted on these maps, they would surely have formed a feature worthy of remark.
12, 1–19, 2; 36, 3–41, 2; 58, 1–63, 2) and two routes that have the common feature of a traversal of northern Italy concern themselves with the slightly simpler question of whether each place is a ciuitas, mansio or uicus (98, 6–102, 5; 124, 8–132, 1). These Arnaud sees as the certiﬁable relics of earlier itineraries dismembered and then reassembled according to the compiler’s grand scheme. It may also be true that these sections derive from an itinerary document that has been glossed through use in the same way as the Bordeaux Itinerary.