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. till 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 lady he loves, Caravaggio is compelled right into a duel - and murders a nobleman.
Even his strong consumers can't defend him from a dying sentence. So Caravaggio flees to Malta, the place, sooner than he could 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
Plenty of engineers or medical doctors in America will at some point have taken a course or two in history or even the classics, something which is unimaginable on this side of the Atlantic. This is one of the reasons why Roman analogies remain exceptionally common in the USA, and are routinely made by politicians themselves as well as journalists, political commentators and the wider public. Usually it begins with the assumption that the USA as the sole superpower left in the world is dominant in a way unmatched by anyone since the height of Roman power.
Gibbon went much further, continuing to the fall of Constantinople to the Turks in the fifteenth century. That is a fascinating story in its own right, but is too great a one to be dealt with adequately here. By the end of the sixth century the world was profoundly and permanently different from our starting point. The Eastern Roman Empire was strong, but no longer possessed the overwhelming might and dominance of the united Roman Empire. This book is about how this came about. Central is the story of the individual men and women, the groups, peoples and tribes who lived through and shaped these centuries.
It is undoubtedly one of both decline and fall. Before proceeding it is only right for me to thank the many people who helped me to write this book and listened patiently to my ideas. Some also read various versions of the manuscript and provided very many helpful comments. In particular I would like to thank Geoffrey Greatrex for finding the time amidst his heavy teaching and research load at the University of Ottawa to read all the chapters. Thanks to him I have been pointed to many works that I would not otherwise have found.