Icons Books

This book make you think about yourself. Made me more a good person and made me think about what is my weakness. I recommend this to anyone who is trying to be a good person

Fr. Grun personalizes 50 attributes of God and enables the reader to grasp them and take them along on life's journey. The simple format makes this a book to keep handy for daily reference.

This book is absolutely amazing. It is a must for everybody who wishes to live in harmony with his/her own personality as well as with friends, coworkers, neighbours, relatives etc. I highly recommend it! Steffen

In this book, Evdokimov poetically meditates on beauty in the Orthodox Christian tradition as epitomized in the art of the icon. His approach is difficult to follow at times, because it is so very dense, but the words eventually flow over and through the reader, leaving him with a sense of having listened to an exquisite concerto of theology. Truly, Evdokimov's "deep knowledge" of the icon comes from his great love and intimate experience in the liturgical arts.

Evdokimov's book illuminates traditional teachings on both Iconography and the spiritual significance of the subject of beauty within the Orthodox East. The rich heritage of Orthodox tradition, liturgy, wisdom and beauty breaks through in Evdokimov's pages and leads the reader into the depth of traditional Christian belief. The book, rooted in the writers personal expertise with Iconography as well as his knowledge of the writings of the Church Fathers, combine in Evdokimov's book and render it both affectively engaging and intellectually stimulating. Further, Evdokimov's critique of contemporary trends in Art provide a wealth of material on which the reader will spend time meditating. This is a book to be read and enjoyed more than once. This book would be a great resource for any who might want to encounter the historical Orthodox Church through her art and wisdom, for those interested in Art history, and for those familiar with Iconography and would appreciate a clear, informative and thoughtful exposition on the topic.

I would highly recommend this book to anyone interested in Orthodoxy and its art and philosophy. The book is an absolute pleasure to read - it leads you through the subject matter with a beautiful and poetic voice. You will return to this book again and again.

Everyone In the World Knows that Mona Lisa Is the Greatest Painting of all time. Buy this Book and Learn how that masterpiece was made.

Mr. Sassoon sets out to discover why the "Mona Lisa" is the most famous painting in the world. By the end of this book I don't think we have the answer, but that's not Mr. Sassoon's fault. I really don't think that question can be answered satisfactorily, but no matter-Mr. Sassoon gives it his all and provides us with an entertaining trip through the history of "La Joconde", as "she" is known in France.

We learn many interesting facts along the way: The painting was acknowledged as a masterpiece even during Leonardo's lifetime. One reason was Leonardo's use of the "contrapposto" position, which shows the model's torso in a three-quarter view, while the face looks in a different direction. This is meant to bring movement to what, in a full straight-on view, would otherwise be static. Surprisingly, there was nothing special about "the smile." Smiles were common in Renaissance portraiture. What would have been unusual would have been someone looking sad in a portrait of the time. Interestingly, Leonardo tried that in his portrait "Ginevra de'Benci". That model was also "prettier" than the model for the "Mona Lisa", at least by current standards. But that painting is nowhere near as famous as the "Mona Lisa".

Mr. Sassoon takes us through all the hoops in trying to explain why the "Mona Lisa" is most famous. Besides the fact that Leonardo painted it, the author mentions the fact that the painting is in the Louvre; that it was stolen in a famous theft just a few years before WWI; that the advertising industry has latched onto the painting ad nauseum, etc. We reach the end of the book not really believing that any of this is sufficient to explain the superstar status of this painting. Mr. Sassoon himself points out that there are many other paintings by equally famous artists; many such paintings in the Louvre; many famous paintings that have been involved in famous thefts, etc. So, why the "Mona Lisa".....

So, just read this book for the interesting history of the painting and for the author's trenchant observations on the "art world". It helps that Mr. Sassoon has a great sense of humor about the whole thing, also. What other painting could inspire a man to sell his business so that he could take a job as a Louvre guard? This is what a man named Leon Mekusa did in 1981. He explained that he considered "being able to greet the 'Mona Lisa' before anyone else in the morning as such a privilege that he had asked not to be paid."!! People even write letters to the painting, care of the Louvre....

Oh, by the way, in case you're wondering about the title of this review; The "Mona Lisa" bears the Louvre inventory number of 779. That's one mystery cleared up anyway...

What question gets asked most often by visitors to the Louvre? There is one question that tops the existential query, "Where am I?" The question is, "Where is the _Mona Lisa_?" This reflects the importance of this particular icon. A famous cartoon in the _New Yorker_ made the matter sharper. It showed a middle-aged American couple rushing into the Louvre and asking the guard: "Which way to the _Mona Lisa_? We're double-parked!" That's an exaggeration, but not much of one. According to Donald Sassoon's _Becoming Mona Lisa: The Making of a Global Icon_ (Harcourt), the crowd around the masterpiece, some illegally taking flash pictures, is like a crowd around a pop star complete with paparazzi. Sassoon has taken on the task of explaining how it is that this work has a reputation as The World's Most Beautiful Painting. That title, of course, is arguable, but it is certainly the most famous painting, and how this came to be makes a great story.

Of course Mona is good-looking, but that doesn't explain it. Leonardo painted other female portraits of handsomer women. For centuries, _The Last Supper_ was his more famous work. It was only when a cult of Leonardo rose among the romantics in the nineteenth century that his work loomed over that of, say, Michelangelo and Raphael, who were far more prolific and influential. Leonardo was busy doing other stuff, and mostly failing. His gadgets stayed on the page and his experiment with oils on the _Last Supper_ doomed it to precipitous decay. In the romantic imagination of a century and a half ago, however, dreaming big and failing was heroic, and he looked the part, although his bearded, god-like visage is probably not the self-portrait everyone assumed. Gautier and Pater wrote purple prose about the lady, and if she had hired a publicity agent, she could not have achieved greater success. In 1911 she made headlines because she was stolen, and she has been a steady focus for fiction during the twentieth century. Sasson has listed many, many references to her, such as Nat King Cole's famous song.

When in 1919 Marcel Duchamp drew a beard and goatee on a postcard of her, and exhibited this naughty French postcard under a saucy title, he continued a trend of including Mona in popular art, something that Malevich, Dali, Magritte, and Warhol have all done as well. There are good send-ups and bad, some that expand our ideas of the realm of this icon, and some that are just gross. All get included in this remarkably inclusive and wide-ranging book. Witty and lucid, it is not so much about a painting as it is about fashions and history, and the role chance plays in our search for objects of fame.

The two reviews preceding mine are excellent and I will not venture to dismiss either in any manner. But let me add this: Martin Conisby's Vengeance - the sequel to Black Bartlemy's Treasure - is said by some to be even finer than the first. Indeed they were originally meant by Farnol to be published as one book but his publisher decided to split the tome in two so as to garner more loot. Seemed like a good idea at the time but this has driven many readers nuts in the pre-Internet Era. Some forty plus years ago, for instance, it took me five years to find Martin Conisby's Vengeance. Now I keep two copies of each on my shelf just as insurance. And, oh yes, for you diehard treasure seekers out there Farnol wrote a prequel to both called Adam Penfeather, Buccaneer. Happy cutlassing!

The Yuletide Kid

I loved this adventure story. The previous reviewer did a good job of summarizing the storyline. I found wonderfully diverse characters, a rollicking story of the high seas, pirates, love, vengeance, courage, survival on a deserted island, and more. I was shocked to have the story end "in the middle" with no resolution!! I immediately found "Martin Conisby's Vengeance" and for another 80 cents I had it in my Kindle in minutes and continued. His writing style reminds me a bit of Robert Louis Stevenson, particularly Kidnapped, with the bond between David Balfour and Alan. I will write a review of the second book, but if you like adventure stories (Haggard, RL Stevenson) you should find this a roller coaster of adventure filled with cliffhangers. Accurate historical details (they prime their flintlocks, patch their musket balls) and ships, ships, ships and life (and death) aboard ships. Courage, fighting, honor -- all in wonderful profusion.

"The Frenchman beside me had been dead since dawn. His scarred and shackled body swayed limply back and forth with every sweep of the great oar as we, his less fortunate bench-fellows, tugged and strained to keep time to the stroke."

Mr. Farnol brings back the pirate days of the Spanish Main in this stirring book filled with picturesque characters. It is a full-blooded, wholesome novel that captivates the reader.

Martine Conisby, Lord Wendover, embittered by his five years of slavery on the Spanish galleon Esmeralda, escapes during a sea fight to an English ship and makes his way back to England, determined to avenge himself on Richard Brandon, who was the cause of his father's death and his own ill-treatment. Broken in body and spirit, he arrives home one night disguised as a tramp, just in time to save from the hands of robbers a beautiful girl, Lady Jane Brandon, the daughter of the man whom he has sworn to punish. In a tavern he meets a pal, Adam Penfeather, who unfolds to him the story of Black Bartlemy, an infamous pirate, and his treasure buried on an island-- treasure of fabuous value that has been the dream and hope of roving adventurers along the Spanish Main for many years.

The engrossed reader will eagerly follow the adventures of the treasure seekers who set sail on the good ship Faithful Friend and the unique experiences of Martin and the fair Lady Jane - whose family the hero hated - as they found themselves alone on the island which contained the buried treasure. He will encounter some rogues as bloodthirsty as any pirates who ever sailed the Seven Seas, and discover love episodes that stir the emotions. Mr. Farnol has never made a wider appeal than in this, his first sea story.

For some odd reason, this has to be one of my favorite editions of Andrew Lang's collection. I'm not sure why. But as always, we get a good, varying dose of excellent fairy tales from different countries, bettered by the fact that these tales are little known. So, yep, I recommend this for all collectors and those who just plain love a good fairy tale.

A Beautifully illustrated collection of fairy tales from different cultures, its refreshing to read tales that aren't just european. When I first bought it I was very disappointed that they weren't the traditional French, German, and English fairy tales but after reading them I found them to be compelling and beautiful. These tales are imaginative, strange, beautiful, wistful, and gorgous. The illustrations are wonderful, they stand in a class of their own. Modern illustrators should use them as inspiration.

It is hard to write reviews for Lang's fairy tale books which are as unique as each collection. The Brown Fairy Book once again has tales from many cultures. Included tales are: How Some Wild Animals Became Tame Ones, Story of the King Who Would Be Stronger Than Fate, The Mermaid and the Boy, The Sister of the Sun, Which Was The Foolishest?, and many others. I always enjoy the illustrations, too, although some children are disappointed they are black and white drawings.

I recommend this book to anyone of all ages. This book was a surprise to me because I've read some books of his that are the exact same type; adventures saving a person from a pond, snatching something out from undera car etc. (although very few of his books are like this, it still gets kinds old) This book was an actual chapter book type. It had continuous chapters instead of Terhune's usual short stories put in to aa novel. I like both types personaly. But this book was wonderful and catchy at the very end. I am very happy I own it.

i really enjoyed reading bruce again. it is a simple book told from the dogs perspective mostly, and all the more interesting, and different for it. told in language understandable to an older young reader, it won't put an adult asleep either. plenty of action here about bruce the collie's wartime career. the author owned 10 collies of his own, and it shows in his empathy, and understanding of his central character bruce. the story of bruce will be loved by all dog lovers for generations to come!

I read this as a child, and I enjoyed it very much. It tells of a time when ladies were Ladies, dogs were Dogs, and gentlemen were husbands, not heroes.

I recommend this book.

I'm kind of surprised to find a fan of Lupin. I have seen many Holmes manias but I was the only one who had any interest at the wonderful frenchman in my district. It's a sad thing that many people didn't had the chance to taste the sweetness of Maurice's stories. well, who ever you are, read some and you'll need some.

Besides this book I have also read :"IN PURSUIT OF ARSENE LUPIN" ,"ARSENE LUPIN vs HERLOCK SHOLMES","EXTRAORDINARY ADVENTURES OF ARSENE LUPIN" in the early '90's translated into greek. I was totally taken by the portrail of the character and by how well-written the book was!!! I've managed to convince my husband to read :"The Extraordinary Adventures... " (the only title we could get from the library) and he absolutely loved it!We have decided to buy all the titles we could find because they are worth having. All lovers of SHERLOCK HOLMES should give Arsene Lupin a try!

It's really a pity (almost a shame) that Amazon.com doesen't have a complete list of Leblanc's work. Anyway, if you're intersted, in Brazil contact Editora Nova Fronteira. I really don't know if they are still publishing the books, but you should try. Leblanc's hero and at the same time, villain, is Arsène Lupin, a frenchman talented for arts, literature, wining young ladies' hearts, and, oddly, robbery. He is the portrait of the frenchman, hilarious, independent, clever, and human. Leblanc hit the bull's eye creating this kind of character to go against the other mistery characters of his time, like Agatha Christie's Poirot, or Father Brown, or Inspetor Maigret and, most of all, the All-Time Brittanic Sherlock Holmes. As a matter of fact, there is a book called "Arsène Lupin meets Herlock Sholmes", figure out why! "Crystal Stopper" is one of the three Leblanc's books one must read, it's the first one. The other two are called "The hollow Needle" and "813". In these books, Lupin is involved with treasures, has to decipher complicated plots, has to save his life and lives of people he cares about. The most funny chapters are the ones he has to deal with the french police force. He even disguises himself as a well-known and respected inspector for years, and no one is able to discover him. If you're sick and tired of Miss Jane Marple and such characters, take your time and find Leblanc's books. Another good guess is "The teeth of the tiger", showing an older and tired, yet very alive, Arsène Lupin. Follow him and discover his secrets, his passions, and his treasures.

A nice insightful look into the life of a working class umarried mother of the late victorian period who copes with her misfortune of falling in with the WRONG PERSON and struggles to rise from the situation towards her self redemption. Everyone can identify with this main character.

It is cold and unsentimental. Very Victorian in its writing and very very real in its view. Absolutely unflinching in its view.

I got this novel to give me insights into the period. I found more than I was looking for and am very very well pleased as will anybody who cares to sit down and read this delightful novel.

Good look for the student of history interested in Victorian England. A joy for anyone interested in the life of women. And a very good moral novel that anyone will enjoy reading.

George Moore was an Irish landowner who received his indoctrination into the world of art and literature in France. His encounter there with the realist movement led to the first three truly realistic (defined as against the prevailing moralism and/or melodrama of Victorian fiction) novels in English literature proper: A Modern Lover, A Mummer's Wife and Esther Waters.

Of the three, Esther Waters is the most fully developed and it is certainly the most engaging for a modern reader. In it, a woman has a child out of wedlock, and not only survives (through a variety of trials that are dispassionately but unflinchingly depicted) but in a manner of speaking prospers (Compare this for example with Elizabeth Gaskell's *Ruth*, written some 40+ years earlier).

A great read. An important milestone in the transition from moralism to realism in English fiction. An Irish writer who played an important role in the Irish literary renaissance in the early years of the 19th century.

Well worth the read.

An unsentimental (nearly unemotional) survey of poverty’s crushing dehumanization. Born impoverished, the title character is nonetheless raised with a carefully defined sense of morality and self-respect. This is wrung out of her over years of economic exploitation and casual sadism by the moneyed class. By the end of the novel she’s accepting the most degrading misfortune as almost a birthright.

The Victorian writing requires careful reading. The paragraph where Esther has premarital sex is so opaque that it’s uncertain what exactly happened until later when the pregnancy is revealed. And certainly the word ‘pregnancy’ isn’t used (“Yes Ma’am, I’m 7 months gone”).

Finally a pet peeve about phonetically spelling dialects. Reading dialogue like " ‘e went ‘ome to see ‘is wife, but she locked ‘im out o’ the ‘ouse. " gets mighty tiresome.

I was surprised to find out that the writer had taken so long to share his contribution to the world. It was a very sloft and heartfelt reading. Very nice Mr Douglass

I have never read a book that has taken off like this one. Some people who had bought a copy came back and ordered more for friends and family. That is the kind of word of mouth the Feathers of Color has.

I thought the book was genuine and heartfelt. I could almost feel Mr. Douglass sitting next to me sharing his experiences first hand. He has a story telling style that is refreshing and engaging.

Schonborn does a masterful job in presenting the Trinitarian and Christological foundations of iconography. Actually, I use this book mostly for the Christological sections. It is VERY well done! All the major and minor aspects of Christology are examined and continually related to the role and meaning of the Incarnation and, thus, the meaning and role of icons. A few well chosen color icons are in the book.

This work is highly recommended. I wish I could buy it for you!

"Incarnation of God the Word, as a realization of the perfect man." As such his disclosure to us reveals who God is and who we are as perfected in God. (cited in Ouspensky 483)


Christ, God's supreme icon:
St. Irenaeus wrote, "When the Word of God became flesh, He showed forth the image truly, since He himself became what was His image; and He reestablished the likeness -- by rendering man altogether similar to the invisible Father." Christ is the supreme icon of God and the supreme icon of humanity divinized.
When we think of icons, it is almost, by default, that we think instantly of 'written' images of Jesus and the saints. Developing the New Testament implication of the image of God in Christ, Leonid Ouspensky, Orthodox theologian and icon expert wrote, "Christianity raises the image of Christ before the world. Christianity shows the prototype according to which man was created, now hidden because of his sin. This image lives in Tradition, the mystical memory of the Church, its inner life."

Christ, true image of God:
Eastern Orthodox and Greek Byzantines refer to icons as being 'written' rather than painted, since icons are treated as theological texts, a graphical depiction of scripture. Only Christ is the true image of God. Christ is the prototypical icon: Whoever experience Christ does enter mystically into the Father's presence, in fullness. The icon's place in the church liturgical life is derived from the living personal existence, in whom the unity of the nature of God with sanctified human beings is vividly clear. Through Christ and in Christ, empowered by the Holy Spirit, human beings are called to something more. Humans are called and allowed to be images of Christ.

Creative Iconographic theology:
Cardinal Christoph Schoenborn discerns the depth of the truth of Cyril's teaching on the unity of Christ, masterfully exposing Origen's Iconclastic Christology, and compares two of his students St. Athanasius and Arius place of image in their systematic theology of the Person of the Word. Eusebius' view, midway between the Orthodox and neoplatonist, expressed a third way of interpreting their common master Origen. The enlightened Cardinal presents the most fascinating expression in the real great Eastern Orthodox, Maximus the confessor, Love as the Icon of God. Part II, the Church sliding into paganism would appeal to Protestants, but is relevant to all of us.

Thanks, your Eminence:
I am amazed and humbled by those authentic Orthodox Catholics who know our fathers, doctors (teachers) of the Church, in such depth and loving understanding that preaches the real unity of the One Holy Universal Apostolic Church. This authentic teacher who wrote "From Death to Life, The Christian Journey," and further, "Living the Catechism: life in Christ," wrote the most compelling, in depth thorough study on the roots of iconography, and a reflection on its supporting Christologies.
I encountered no other book on the subject which ever explained, so deeply the true meaning of God's Human Face. So, read, learn, and meditate on anthropological theology, Christology, and Patrology, all flowing in order,logic and harmony.

Schonborn does a masterful job in presenting the Trinitarian and Christological foundations of iconography. Actually, I use this book mostly for the Christological sections. It is VERY well done! All the major and minor aspects of Christology are examined and continually related to the role and meaning of the Incarnation and, thus, the meaning and role of icons. A few well chosen color icons are in the book.

This work is highly recommended. I wish I could buy it for you!