Eighteenth Century Books

Finally a book with a plot that gives the hero a huge challenge and has him work his way out of it through his own wits. I've read too many so-called mysteries lately that are solved by luck and coincidence. Tito Amato is a fascinating detective, and the background of baroque Italy is recreated in lush detail. Now, I'll go back and read the first two books in the series.

Early in 1740 following an exhausting tour of the continent, famous castrato Tito Amato returns to Venice to relax with his family. However his respite is short as Chief of Constabulary Messer Grande arrests Tito. Soon afterward Senator Antonio Montorio explains that with Pope Clement XII near death, the Cardinals will select a replacement between his brother Cardinal Stefano and Cardinal Di Noce. Whomever Cardinal Lorenzo Fabiani supports will become the next pope. Tito is to sing for the music loving Fabiani and learn who he backs or his family will suffer.

Tito heads to Rome where he provides performances while staying at the home of Cardinal Fabiani. The singer quickly learns that the only topic amidst the residents and servants of the house is the next pope. However, someone strangles to death a beautiful maid. While Fabiani assumes a family member is the killer and decides to cover up the homicide, houseguest Tito and his two person entourage fear that they will be left singing confessions to the murder. They investigate which leads them to some underground Roman groups.

The third Baroque mystery contains an interesting whodunit, but that takes a back seat to the insightful look at Papal politics in the middle of the eighteenth century. What is fascinating is the senator's explanation that a Venetian needs to sit on the throne so that patronage can be earmarked for his city. Also appealing are the underground cultures that thrive within walking distance of the Vatican as sects of ancient pagan worshipping is prevalent and biologists, physicists and chemists abound. Though the plot takes its time to set the stage, it is worth the wait as the audience will gain a grasp on the political patronage swapping and once in Rome Tito does not do what the Romans do as he investigates.

Harriet Klausner

Pope Clement XII is slowly dying. The behind-the-scenes wheeling and dealing at the Vatican is intense. State Inquisitor of Venice Senator Montorio wants someone he can trust on the scene, spying for him and actively promoting the candidacy of his choice. To get this trusted spy, he hauls Alessandro Amato in on false charges of salt smuggling. If convicted, Alessandro will be killed. This is enough to convince his brother, castrato Tito Amato, to make the trip. Not willingly, mind you.

When Tito gets to Rome, there is one pleasant surprise. His love from INTERRUPTED ARIA, Liya, is in Rome. They renew their friendship, which Tito would like to see become far more than that. While doing the bidding of Senator Montorio, Tito becomes an unwilling (again) accomplice to the murder of Gemma, a maidservant. In order to keep from being arrested for that murder, Tito is coerced by the head of another faction to spy and promote a different candidate. Life is very complicated for Tito, who just wants to make lovely music and have a lovely wife.

CRUEL MUSIC, while set in the baroque period in Rome, deals with emotions that know no time. Greed, power, lust . . . the Vatican has never had a monopoly on those things. While this is definitely a historical mystery, the issues addressed are as current as any election, the politicking just as intense then as now. CRUEL MUSIC is a testament to Graves' talent as a writer; she makes "then" interesting, educational, and entertaining.

Reviewed by Paige Lovitt for Reader Views (8/06)


"Cruel Music" is the third mystery in a series written by this author. Castrati, Tito Amato, is planning on relaxing at home with his family upon his return from an operatic tour. His plans are cut short when his brother is arrested on false charges. Tito is blackmailed into going to Rome to sing for a cardinal who has great influence on the next election for the pope. Tito is supposed to spy on the cardinal and find out where his interests lean. Along the way there is a murder of a young woman who is assigned to care for the cardinal's insane mother. Tito is implicated in her death. In addition to needing to save his brother, he now has to find out who the real killer is to save himself.

This is an excellent mystery written in the Baroque era. Graves easily portrays the richness of the culture of the era to the reader. I really felt like I was back in this time. In addition to enjoying the mystery and the suspense that goes with Tito's experiences, I also enjoyed the way she writes about the corruption of the church.

The plot is excellent and the characters are well developed. It was really interesting to see how paganism and the study of science were both not accepted by the church, yet still practiced by some of the people. Paganism was pretty much on its way out and science was working its way in.

This book stood well on its own, but because I enjoyed it so much, I plan to go back and read the first two in the series. It would be a great book for a reader's group to discuss and also for fans of music of the Baroque era.

This is a very readable and enjoyable history of the evolution of the various "schools"(or philosophies)of self defence with the sword, expressed with a detailed look at their main proponents, the salon masters of years ago.

Castle's personal sketches of the masters are enlightening and full of anecdotal material. The accompanying illustrations are mostly reproductions of period wookcuts which are invaluable in themselves.

However, the poorly reproduced photographic addenda reveal that Castle was as much as a century off in his ability to identify and date sword types. This of course was not the purpose of his work.

Even given this small flaw, I wholeheartedly recommend this for the fencer or martial artist of any level who is interested in the roots of the art. We are fortunate that Mr Castle provided us with such a good, solid history.

A REVIEW BY NICK EVANGELISTA:

This book is a must for all fencers. It is a font of fencing knowledge, and although much criticized by members of the modern historical fencing movement, it is nevertheless a valuable resource.

As the author of "The Art and Science of Fencing," "The Inner Game of Fencing," and "The Encyclopedia of the Sword," and the editor/publisher of FENCERS QUARTERLY MAGAZINE, I recommend this book highly.

Although this history of fencing is over a century old, and some of its conclusions are deeply flawed, it is still the most complete and accurate book on the subject. Castle's dismissal of early works on swordsmanship as "The rough untutored fighting of the Middle Ages" is unfortunate. I defy anyone to examine Sigmund Ringeck's Fechtbuch (as translated and interpreted by Christian Tobler in Secrets of German Medieval Swordsmanship) or the anonymous Manuscript I.33 from 1300 (translated by Jeff Forgeng in The Medieval Art of Swordsmanship and analysed by myself and Paul Wagner in Medieval Sword and Shield)and conclude that medieval fencing lacked system and sophistication.

Also unfortunate is Castle's evident belief that the history of fencing is a process of steady improvement to the perfection of fencing in his day. It was a good thing for Castle and his contemporaries that they never had to face the trained killers of the middle ages and see their "rough untutored" fighting for themselves.

But, quaint 19th century notions of superiority aside, in his description of the fencing masters of the 16th-18th centuries, Castle is unsurpassed. He possessed the rare ability to separate observation from opinion. So, while his opinions may be...interesting, his observations, unsullied by opinion are for the most part accurate. He examined about a hundred different fencing masters and their systems in analyses that are sometimes deep and sometimes quite superficial.

Other authors have attempted to write histories of fencing, but none have managed to separate their observations of the old masters from their personal opinions. Hence none are as useful as Castle. As old and as dated as this work is, it still deserves a place on the shelf of anyone interested in the history of swordsmanship.

Stephen Hand
Author, Spada, Spada II,
Medieval Sword and Shield

Egerton Castle lays out a roadmap of European swords, schools and masters of the sword, and fencing texts from the middle ages to the early 1800s. Despite an original publication date of 1885, this is the best overview of the subjects covered. It is generally laid out in chronological order, with a few detours to follow specific schools of fencing, but flows well and logically. Castle describes the last days of armor and twohanded swords, and as gunpowder made medieval armor obsolete, he progresses through the development of the rapier and smallsword.

I found the sections on Spanish and English schools of thought most useful, as these are most removed from modern sport fencing, and least accesible through modern authors (who have been heavily influenced by Asian, Pacific Islander, and other edged weapons arts, and their own theories). For example, Ramon Martinez is absolutely brilliant at explaining the Spanish school of fencing as he interpretes it, but he tends to gloss over shortcomings of Spanish Fencing, or John Clements, whose books make reference to parrying with the flat of the sword rather than the edge, which is without practical or historical basis.

Castle's vignettes of personalities and events of fencing history add a charming 'gossipy' air to the work that make it very readable, when it easily could have devolved into an arid scholarly listing of unadorned facts and dates. The discussion of Domenico Angelo in England was a delightful snapshot of life among the upper class of England in that period.

In a word, brilliant. "Schools and Masters of Fencing" does not claim to be a text on the management of l'arme blanche, but an overview of the history of the weapon. But with this disclaimer, Castle procedes to offer insights into the techniques and evolution of techniques that have become modern sport fencing. Although Castle does not dwell on it, this work offers great insight into the interrelationship of armor, muscle powered weapons, and firearms. The book neatly frames out the golden age of edged and pointed weapons from the time when the obsolescence of armor in the face of firearms made way for the most subtle and refined swordsmanship to the point where reliable repeating handguns made the sword a relic of a more refined but less democratic era.

Absolutly top shelf; a 'must read' for a serious classical fencer or student of the history of arms.

E. M. Van Court

An excellent buy! I was forced to buy the 3000+ page book for my Brit Lit class, but I needed something smaller. Also, there is no way in the world I am going to lug that mammoth book around for four months. I decided to purchase the smaller 3 volume set and I am glad I did. Same information, but in a more compact size. Great for people studying English/British literature courses.

This is essentially a three-volume pack. This is not a giant 3000-page book. if you were to buy each volume separately, you would be spending 3*40=120 dollars. Buying this saves you a minimum of 70 bucks. Buy this if you're studying English Poetry/literature.

I ordered this book for my literature studies and it is an excellent resource or English poetry, prose and literature. Not only was it more economical to order from Amazon, but it came sooner than expected. If you want one of the best companions for lit, this it the one.

Great book. The flaws have been exaggerated by a previous reviewer in my opinion. I would not want to be without it.

A good catalogue of catalogues broad base book, but if you are usedto Konemann books for the same money it is not in the same league.

We are in debt that this period has finally been covered, so a steller effort. The details and research are flawless.

But come on,page 295 fig 102 Carlo Maratti "Triumph of Clemency" a milestone hit of this period by anyones standard, the size of a credit card, in very poor black and white, yet on page 172 we have a commode at least 4 by 4 in full color, in Sotheby auction catalogue format, this book is a catalogue of art objects not an Art book be very aware of the distinction. A lot of really good paintings are black and white, and small while high brow 18th century garage sale objects get full color press.(being a smart ass)
I mean didnt Chiari or Conca do some ceilings somewhere, break it into two books, go heavier into the painting and sculpture, enlarge, add, and color more pictures, do some full page details,put the damn furniture under the Home Depot section of another book, and cut down on all the text, we get the picture you are experts ,so can we get the picture.....thank you though it is a great book wonderful coverage.

I apologize a lot of time went into this book I think too many good cooks spoiled the broth,there are so many great paintings from that period we will never see. A great job Thanks for helping all of us get off the Rococo to Impressionist highway at the 18th Century Roman exit.

Rome, forever beckoning, forever fascinating. And, as we're reminded in this landmark volume, Rome during the 18th century was the birthplace of countless art treasures. Such a plethora of richness was due, in large part, to wealthy travelers doing the Grand Tour who eagerly offered patronage, and the flourishing academic environment - the Accademia di San Luca, the French Academy, the Accademia dell' Arcadia.

Thus, a virtual mother lode of work in all media was produced, not only to be shipped to the opulent homes of the visiting aristocrats but to adorn the Eternal City's churches, palaces, fountains, piazzas, and gardens.

It was in this climate that artists such as Canova, Maratti, Piranesi, Baroni, David, and Fuseli flourished. Art In Rome presents some 500 glorious illustrations accompanied by edifying texts penned by some of the world's foremost scholars. It is a volume to savor, to treasure, and to enjoy over and over again.

We find Antonio Canova, perhaps best remembered for his reclining portrait figure of Pauline Borghese as the victorious Venus. Here, we are reintroduced to his skill in the qualities of classicism as shown in "Theseus with the Dead Minotaur."

Originally a stonemason, he turned to sculpture after moving to Venice in 1768. He was to become the most influential sculptor of the Neoclassical period.

There is Maratti (Carlo Maratta), the leading painter in Rome during the late 17th century, and Fuseli, a Swiss-born painter, draughtsman, and writer on art. who came to Italy where he became enthralled with the works of Michelangelo.

The list of artists represented is lengthy; the visual pleasures found in these splendid illustrations are many. Art In Rome captures much that has previously been given scant attention in the annals of cultural history.

Unschuld has created a wonderful translation of a great classic. This text presents the often cutting style of the physician Hsu Ta-ch'un. This is not a clinical manual in the sense that there are no point prescriptions or formulas. For those who understand the theories behind such "prescriptions," the concepts will be enlightening. For scholars of the medicine, the criticisms of the "four schools" and the appearance of the original Chinese text will be valuable. The often critical style of Hsu Ta-ch'un is still highly relevant today, as he spends a good amount of time criticising "lesser" physicians.

This book is a translation of a text from 1757 by Hsu Ta-ch'un, translated by Paul U. Unschuld.

This book will be of particular interest to those who have a background in traditional Chinese medicine and are knowledgeable with TCM terminology. It is not a book recommended for beginners wishing to study TCM.

The book is fascinating, delving deeper into the mysteries of TCM classifications and diagnosis and will be difficult for anyone trained in TCM to put down.

The chapters are short, to the point and full of ancient wisdom. One chapter I enjoyed deals with asking the patient for his/her preferences and aversions, what gives them joy or misery, etc. This will further enable the trained practitioner to diagnose the nature of the patient's illness. Fascinating reading.

This is not an herbal material medica and if anyone is looking for such a book I would not suggest this. It's more for diagnosis and understanding the nature of illnesses rather than specific herbs and formulas.

I would rate this text highly. I refer to it often for inspiration. Its a book that is suitable for any reader weather your a student or someone who has an interest in the classics or is working with the principles contained in the Nei Jing or Nan Jing. What we have within this book is the ability to get behind a great physician who really knew what he was talking about, the breath of his Knowledge is clear. I certainly think this text is equally, if not more relevant today as it was when it was written, 250 years ago. Not only does he criticise so called famous physicians, but he accepts that poor treatment or scrupulus doctors is heavens way of correcting the order of things. In this context, we as practitioners have a choice, weather we choose to know our subject well or not is not necessarily the way, rather an honest and open mind is what will make a good student/ practitoner especially one who is diligent enough to read the classics and bring alive these principles in his or her clinic.

Indeed some of these arts have been lost, but there are a few people out there today practicing at a high level that the auther refers to. If you buy this book, weather or not you understand what is being said or not doesnt reallly matter, rather, its what was behind the mind of this amazing physician that will inspire you. His talk on the 9 needles is clear, this art is lost, but, what he does do is echo the priniples that are contained within the classics and indeed praises the worthy physicians who understood the way of heaven, earth and man.

I find "Redgauntlet" one of the less satisfactory novels in the Waverley series. Certainly, it has the local flavor, the dialect, the imaginative description of evocative landscapes all his novels have, but it is not a blast as some of the others are. The plot involves a fictitious third Jacobite rebellion, and it is interesting to see how Scott (especially in the notes from the Magnum edition, included in this edition) argues this time not for the historicity but for the historical probability of the events described. While Scott is often hailed as the inventor of the historical novel, "Redgauntlet" also shows him to be a forerunner in the historically probable novel--a genre practiced to great effect by our present-day history buff, Umberto Eco.

But probability alone does not a great novel make. Darsie Latimer's character is even less probable than his semi-historical counterparts, such as Edmund Waverley and Henry Morton. And this is strange, since moving further into fictionality, one could argue, a writer might allow themselves more latitude to make a character interesting, even if certain circumstances remain historical. Is this a conscious effort on Scott's part to show, after the fictionality of history, the fictionality of fiction?

Scott disturbs narrative conventions even further when the conspiracy against the Hanoverian King George III completely fails to materialize--ironically, for what seems to be the silliest of reasons: the Pretender (or the Chevalier if you're a Jacobite), Charles Stuart, refuses to give up his mistress. Thus, the main plot of the novel sizzles out and really not much happens in these 400 pages. Mind you, I personally don't need much to happen, but the 19th century novel did. Scott as a postmodern writer? That is pushing it too far, but this novel awaits a postmodern critique enlightened by a reading of Eco and Bakhtin.

That said, there are some really interesting things going on. Apart from the "regular" set of characters of Scott's Scottish novels, this one features an orthodox Quaker who is the epitome of anti-militant mercantilism. The form is also quite new for Scott--the novel is an epistolary, a set of letters between Darsie Latimer and his friend Alan Fairford. Thus, the novel's first-person point of view is split, and this provides for interesting contrasts.

For me, Scott sort of shot himself in the foot with this novel. His earlier novels ("Redgauntlet" is the last of the Scottish novels, written eight years before his death) lead one to expect a major action to happen before the denouement, and this one avoids that a bit too artificially. It seems that Scott was at pains to stick to history, and his own political convictions, a bit too much: a fictitious Jacobite rebellion is OK as a narrative vehicle, but it shouldn't interfere with the peaceful Great Britain (in which Scotland was in many respects subsidiary to England) that Scott himself inhabited and advocated. And so narrative excitement has to give way to Scott's pacifist politics--an honest choice, which Scott consistently maintains in all the Waverley novels--and character development and politics take precedent.

A final note: Scott has always proven himself a masterful and honest critic of royalty and nobility, especially of those characters he seems to love. "Waverley"'s Mac-Ivor is chastised for his political obstinacy, in "The Fortunes of Nigel" King James I (a Scot) is rebuked for his fickleness and corruption, and in "Redgauntlet" the formerly charismatic Stuart proves effeminate and tragic (dying an impoverished alcoholic, in the footnotes). And often enough, these tragic characters are of more interest than the somewhat ineffectual and sometimes foolish main characters: something for readers of literature to sink their teeth into.

In his 1824 novel REDGAUNTLET, Sir Walter Scott says farewell to the dethroned Stuart Dynasty with its colorful, haughty claims to the Crowns of Scotland and England. Law and a commercial order comfortable to property owners have taken root by the time of the third Hanoverian King and displaced the older claims of personal and clan loyalty to a God-anointed sovereign. England, and increasingly Scotland, now make up a nation of shopkeepers and overseas traders and their souls are content. Even those of smugglers.

The two principal characters, men in their early 20s, can be objects of gentle fun, as they hastily and clumsily grow up. Yet these youngsters (and two young women they meet and admire) represent the future of the United Kingdom. Initially, in the summer of 1765, the two, newly minted lawyer Alan Fairford and his dreamy laid-back alter-ego Darsie Latimer, are at least a little bit open to the romance of the "auld days." Like many Romantic Movement heroes, Darsie is not sure who he is. In addition to the usual reluctance to allow himself to be defined by profession, church, state, older adults, etc., Darsie does not know who were his parents. Strong hints are that he will know as soon as he turns 21. Meanwhile he is to avoid leaving Scotland at any cost. Alan has delicate health and is the dutiful son of an overbearing lawyer of Edinburgh. He uncharacteristically rebels and strikes out on his own when Darsie is violently carried away across the firth of Solway into northwestern England. That deed was done by persons unknown but increasingly suspected to be using Darsie as a pawn. Slowly, it becomes clear that Darsie's rebel uncle, Hugh Redgauntlet, is using the young hero to mobilize support for a fresh rising in England and Scotland to put the Old Pretender back on a throne that he had rolled the dice for 20 years earlier in the crushed rising of 1745.

There are many ways and levels for reading Scott's historical novels. One, followed by thousands since Scott's death in 1832, is to find lessons for today's world in the pasts of England and Scotland. Many Americans grew up in a world echoing the skepticism of Nanty Ewart (Vol. II, Ch. 13, p. 250), "Tell that to the marines -- the sailors won't believe it." And might not the US in Iraq in 2006 spring to mind when Darsie Latimer is said to fall easily in and out of puppy loves like a "Mahratta conqueror, who overruns a province with the rapidity of lightning, but finds it impossible to retain it beyond a very brief space" ( Vol. III. Ch. 4, p. 290).

Or we can enjoy REDGAUNTLET for its striking comparisons. Darsie, for example, has learned enough of the uncle who kidnapped him to know that his laying on violent hands had been for no personal gain. "... he could as soon have imagined Cassius picking Caesar's pocket, instead of drawing his poniard upon the Dictator" (p. 293). And "Freedom of religious opinion brings on, I suppose, freedom of political creed" ... (p. 303).

REDGAUNTLET is a wise, complex tale by one of the world's greatest story tellers.

-OOO-

Redgauntlet is generally considered to be one of Scott's best novels. It is set in 1765 and returns to the theme of his first novel Waverley, describing an attempt to overthrow the Hanoverian monarchy and return Britain to the rule of the exiled Stuarts. Of course there was no Jacobite rising in 1765, so Redgauntlet is not, strictly speaking, an historical novel. The story however is consistent with the history of the period and plausibly shows what might have happened. The novel is all the more powerful and poignant because he does not attempt to create an imaginary rebellion on the scale of 1745, but rather describes a revolt which history might have been unaware of, a last small scale, almost pathetic, attempt to resurrect a cause which had already, long since, been lost.

The story is initially told by means of a series of letters between Darsie Latimer and Alan Fairford, two young friends who have grown up together. There is a mystery regarding Darsie's family origins. He knows almost nothing about his background except that he must not set foot in England until he is 21. Gradually, as Darsie discovers more about the secrets surrounding his life, he is brought deeper into a conspiracy. Alan is warned by the beautiful "Green Mantle" that Darsie is in danger. But Darsie fails to heed the warning and soon faces a man who knows all about his past, the fearsome Redgauntlet.

Scott tells the story well. The epistolary form works well enough, given the at times inherent implausibility of this way of writing, where letters go on for an unreasonably large number of pages. The story is exciting with lots of incident and action and a good number of surprises. The romantic element of the plot is unusual involving both Alan and Darsie with "Green Mantle". Perhaps best of all is the genuinely creepy short story "Wandering Willie's Tale" which lives up to its reputation as the best short story in Scots. This story is often anthologised, but it is even better when read in its proper context.

The edition of Redgauntlet edited by G.A.M. Wood and David Hewitt is undoubtedly the best possible version of Scott's text. This edition takes as its base text the first edition. The editors have also consulted Scott's manuscript and, unusually in the case of Redgauntlet, the proofs, which show Scott's corrections to the first draft of the printed text. By doing this the editors have been able to restore many lost readings and correct numerous mistakes. In addition this edition has a full glossary and extensive notes. A little effort is required to read Redgauntlet, as Scott's language can at times be quite difficult, but this effort is amply rewarded, for his story of the last rising of the Jacobites is one of his greatest creations.

The support community for heterosexual male transvestites in Vancouver, British Columbia, calls itself The Cornbury Society. The organization, like New York's famous Hyde Park, has taken upon itself the name of the third Earl of Clarendon, Edward Hyde, the Lord Cornbury, royal governor of New Jersey and New York from 1702 to 1708. These men, like most historians from the mid-19th century forward, believe that Governor Hyde was an exhibitionistic cross-dresser, who attended his own wife's funeral dressed in women's clothing, and cavorted about in society dressed as a woman, to the horror and condemnation of hundreds of spectators. This has been the historical legacy of Hyde for over 150 years, and it is Patricia Bonomi's task to not only refute these (and other) rumors, but illuminate the condition of politics and political discourse in the 18th century, and expose a long-standing bias in American history against royalists in general, and Tory governors in particular. She does this all in an engaging and descriptive manner, though with perhaps an insufficient degree of explanation of basic terminology and concepts (for example, she does not explain what she means by "Grub Street Press," a fundamental concept used from the first chapter forward, until page 102), and a organizational structure that seems to lack both organization and structure. There are three areas from which criticism of Governor Hyde has always stemmed. The most infamous is a portrait said to be of him, dressed in women's attire, now hanging in the halls of the New-York Historical Society, a portrait with which there is no connection to the Governor until many decades after his death. The second, and in many ways weakest, is a series of 5 letters containing rumor-mongering of the Governor's supposed cross-dressing habits. The final, and most serious, is a large group of more or less contemporary charges (primarily propagated by Lewis Morris, the man who was in line to become the royal governor of New Jersey until Hyde's father and uncle interceded) of fiscal misconduct, including accepting of bribes, mismanagement of colonial finances, and living far in excess of his position and means. Bonomi places each of these pieces of evidence into their proper political and social contexts, completely discrediting the portrait's connection to Hyde, and clarifying the difference between the rumors of the day and what actually took place. More importantly, Bonomi explains, to a certain degree, why these rumors were so prevalent, and why so many of the rumors focused on sexual innuendo. One does not need to look farther than the Monica Lewinsky scandal to see the application of Bonomi's findings to our understanding of our own time. A new form of media, greater press freedoms, and a large upheaval in the nature of political institutions and leadership are just three of many parallels between the late 17th/early 18th centuries, and the late 20th/early 21st centuries.

One might desire more from this text, however. The balance between salvaging Hyde's historical legacy and of analyzing the social context that led to the charges against him, is heavily weighted towards the former, with only one chapter dealing with issues of sexual identity and changing morals in this period. Further, Bonomi comes across not so much as a disinterested detective, but rather as defense attorney, committed to proving that Hyde wasn't a bad guy above all else. Her analysis of the letters charging Hyde with cross dressing is primarily devoted to showing why we shouldn't believe them, and little else, and such problems are scattered throughout the book. Additionally, the book lacks something of a cohesive structure, and would do well to have a more solid introduction, any kind of a conclusion, and perhaps a glossary for those readers who aren't as intimately familiar with British political history as the author herself clearly is. Still, Bonomi's book accomplishes much of what it sets out to. It exonerates Hyde, for the most part, returning the charges against him to the context that historians have stripped them from, and increasing our understanding of the political climate of the early 18th century. It is useful for any student of colonial or British politics, and for anyone interested in the forms political discourse takes. Not to mention for all the historians who have taken the charges against the Lord Cornbury at face value and perpetuated some of the most vulgar and base forms of political accusations for their readers, out of self-interest and expediency. Despite it's flaws, this book opens the door to new interpretations of colonial and British politics, and paves the way for a more responsible historical interpretation of the American past. (originally prepared for History H398, Spring 2000, Ohio State University)

The writer does indeed show how easily stories get garbled and tales get passed on as history. A great deal of scepticism or, at least, critical awareness is needed when looking at the past. This is a very readable and lucid book.

The author argues convincingly that stories of Lord Cornbury's cross-dressing were only rumors. She offers some explanations as to why such rumors might have started but fails to consider one plausible explanation-- they were true. As evidence that the charges were untrue, the author cites the four letters which described Cornbury's behavior. Each was written by someone who disliked the colonial governor. Cornbury probably did not attend public functions in women's clothes. Rumors do tend to be embellished with each re-telling. The fact that someone has enemies, however, does not mean he can not also be a transvestite, consider J. Edgar Hoover. The fact that his enemies would be more likely to comment than his friends seems hardly surprising.

Horace Walpole's The Castle of Otranto offers a delightfully gothic story of a man's lust for power. Manfred, the prince of Otranto, spends the course of the novella attempting to continue his bloodline. His son Conrad is a sickly adolescent who is mortally injured by the supernatural in the first pages of the story; the incident prohibits him from marrying the lovely princess Isabella. Manfred resolves to divorce his barren wife Hippolita and marry Isabella to produce the heir he needs. Theodore, a young peasant recently accused (unreasonably) of Conrad's death, aids Isabella in her escape from the castle. As Isabella escapes, Theodore is rediscovered by the king and promptly imprisoned. The stage is set for a wide array of strange occurrences.
The rest of the story yields many discoveries, such as Theodore's birthright, Manfred's motives for choosing Isabella, the identity of the silent knight, and the true meaning of the prophesy, "That the castle and lordship of Otranto should pass from the present family, whenever the real owner should be grown too large to inhabit it." (176)
The story does a marvelous job of keeping the keen reader astonished and engaged. Though the language complicates the dialogue at times, the back and forth provides for a fast-paced and enjoyable tale of self-destruction. While many of Walpole's uses of the supernatural are antiquated, the story's effect is not lost. Anything it loses in suspense it compensates for with its plot, providing a complex yet plausible web of relationships. Piety, greed, integrity, vengeance, cruelty, and the other themes of the novella keep the reader thinking throughout the text, while not being overwhelming. A short and pleasant read, The Castle of Otranto offers an insight into human nature, as well as into gothic literature.

The Castle of Otranto was an unbelievable, but, nonetheless, interesting novel. Throughout the story, ghosts emerge, mythical curses become reality, and other "weird" things happen. However, the weirdness of the story makes the plot more interesting for the reader. The story's outlandish events that also starkly contrast the scholarship of the writing.

The plot, although fairly developed, was at times startling and unexpected. Many times in the novel, various events occurred that the reader never thought would take place. As the story unravels, the plot becomes the major source for much of the character development. Therefore, the reader begins to understand the characters mainly through their interactions with one another.

In my opinion, the character who was almost fully developed was Manfred. Through observing his interactions with other people, the reader sees Manfred as being manipulative and ruthless when it comes to getting his way. Manfred will destroy virtually anyone who defies his will. He becomes even more tyrannical as the story progresses, and Manfred doesn't admit to his own faults until the very end, when much is already in devastation.

Most of the women in the book are passive and submissive. Look at Hippolitha! Too many times, Hippolitha tolerates the insolence and negligence of her "beloved" husband. Likewise, Matilda is very obedient towards her father. For most of the novel, Matilda is reluctant to defy her father's will. Although there were instances in which Matilda displayed hints of rebellion, these moments were fleeting.

Overall, I would say that this book was a good novel. Once you get used to the Old English language, the sophistication of the plot and the Gothic eeriness of the setting will make The Castle of Otranto an intellectually stimulating read.

This book is the essence, and one of the first pieces of Gothic literature. It set the standards of cursed families, haunted castles, and other supernatural events in the genre.
A cursed and selfish king tries to continue his lineage against all odds. In each terrible plan of his, he only digs himself deeper in trouble with the supernatural.
This book is not a quick thriller because the plot is very complex and the language sometimes difficult to understand. The reader may have to reread again and again just to understand what is progressing in the story.
Most characters are characterized very well, both directly and indirectly, and seem to fit a certain stereotype. There is a hero, a tyrant, an obedient wife, and a couple women to be won. This furthers shows why this book set the standard for the Gothic genre. I would definitely recommend this book but it should not be taken lightly.

I love this series, the Countess and Alpiew are pure literary gems. I just wanted to let the readers know that this series is seriously slow in making it to the USA. The third and fourth installments "The Ambitious Stepmother" and "Fortune's Slave," have already been released in Britain! I loved the third book, which takes place mainly in France at the exiled court of King JamesII. Where the Countess and Alpiew have been hired to take a Lady's step-daughter to find a rich husband. It deals with the outbreak of poisionings and sexual intrigues at this deadly court.
I am waiting on the arrival of the fourth book, and can not wait to read it. Fortune's Slave synopsis: "Unlikely as it seems, the Countess finds herself with cash to spare. Unlikelier still, she decides to do something sensible and invest it, caught up in London's new craze for stocks and shares. Overnight fortunes are being made, wealth amassed for nothing in a frenzy of speculation. With these new found riches, anything can be bought; commodities, monkeys....even people! But as the Countess and Alpiew learn, investments can go down as well as up. Helped along by bastions of repectability, bankers and brokers. Soon banking leads to begging, burglary and strange bedfellows!"
So, take my advice and go to Amazon.co.uk if you like this series, and order these two books. So you can catch up on the ribald adventures of these two loveable, bumbling ladies!

If you're in the mood for a wildly entertaining historical mystery novel, Fidelis Morgan's latest Countess Ashby de la Zouche/Alpiew adventure should more than satisfy. The book possesses a really interesting and engrossing storyline, colourful characters, and is written with a great deal of wit, elegance, and humour.

While chasing down what they hope will be the latest society scandal involving the only daughter of a rich City alderman, the Countess and Alpiew, (the 'scandal' column reporters for the "London Trumpet"), make the acquittance of Colley Cibber (a playwright and actor currently working at Drury Lane). Always on the lookout for publicity for himself, Cibber invites the Countess and Alpiew to a lecture on the Passions. And because the Countess is (again) trying to evade the bailiffs for nonpayment of the Poor Rate (and because Alpiew is truly interested in attending the lecture) the ladies accept Cribber's invitation with some alacrity. The lecture, however, turns out to be instructional in a manner in that neither the Countess nor Alpiew anticipated as they are treated to a very public and bitter squabble between two of Drury Lane's leading actresses: the even tempered and universally adored Anne Lucas and the fiery tempered Rebecca Montagu.

But it is the morning following the lecture that turns out to be the really momentous one for both the Countess and Alpiew. First, they are greeted with the grim news that Anne Lucas has been murdered. Secondly, the Countess gets arrested by the bailiffs for nonpayment of the Poor Rate. And finally, Rebecca Montagu turns up at the Countess's doorstep, intent on hiring both the Countess and Alpiew to discover who Anne Lucas's murderer is and to protect her from her more ardent fans (the 'phanatiques'). Desperate for the money so that she can spring the Countess, Alpiew accepts the case with some reluctance, for she cannot rid herself of the feeling that Rebecca Montagu is not to be trusted. Soon, with the Countess at her side, the duo begins what could be their most frustrating of cases as the most obvious suspect in Anne Lucas's murder seems to be their client (Rebecca Montagu), who seems to be playing a deep game of her own, and who seems intent on making a may game of them. The more they dig, the more evidence they come up with that seems to imply Rebecca's guilt. What are they to do? And more importantly, what will it say of their reputations as private inquiry agents if they come up with the evidence that will send their own client to jail for murder?

"The Rival Queens" proved to be a rollicking fun read. The action never let up, and the plot unfolded at a brisk and smooth pace that had me fairly devouring the bok until I reached the last page! The storyline was a totally engrossing one, and there were enough cunning plot twists and red herring suspects to keep most mystery buffs happy. Best of all was Fidelis Morgan's prose style, which turned out to be witty, hilarious (I esp liked the bits where the Countess would purposely misremember Cibber's name, and address him by a fishy name instead) and very graceful. I really enjoy mystery novels that allows me to appreciate the history and the culture of the period, and "The Rival Queens" fulfilled this requirement admirably. Here's to future Countess Ashby de la Zouch & Alpiew mystery novels!

"The Rival Queens", is the first work that I have read by Fidelis Morgan whose talents go beyond that of a novelist to being an actress and playwright as well. She also brings to her fiction her writing that documents the true lives of 17th and 18th Century women, and she has also edited the work of others as well. All these accomplishments bring to her writing a great authenticity as she chronicles the mysteries of 18th Century London, the stage, and the players upon it.

It is a fine line between presenting dialogue that is authentic from the 18th Century, and writing so faithfully to every bit of slang then in use so as to make reading a work frustrating to impossible. When I read historical fiction, one of the last burdens I want to have is the constant interruption of language that has become arcane, or footnotes that interrupt the narrative flow. Another failing of some writers is that they take great liberty with the historical figures they place within their fiction. Fidelis Morgan uses Samuel Pepys as a player in her tale, and nothing she portrayed was inconsistent with what I have read of the man.

Her two heroines who are the sleuths are both wonderful, and are a good team while often being the perfect odd couple. This piece has all the drama of hands drenched in blood, blood spouting from public fountains, and bodies that either appear or actually seem to have misplaced some of their parts. The book is fun and entertaining with the author adding enough levity to keep her work from becoming another bloodletting ripper tale. I definitely will be going back to her first work, and I look forward to reading many more.

This is an awesome academic book. i wanted to know the history of rococo for a research paper and this was the first of many books i'm about to read. this book concentrates also on the history of france, spain, and italy so you can get a sense of where rococo came from and why rococo evolved. i read it in one sitting... 4 hours or so and there are images of works on every other page-spoiling the reader with so many relevant images. I had found some paintings that had interested me in the book and i tried looking for the images on google, but they were not available-so they must be obscure-but very good examples of the influential painters of rococo. it's fascinating to hear from a well versed author who is an expert on the time period in france. You can tell the author is at least bilingual in english and french, and being a francophone myself, it's nice to know someone's knowledge of a language is being put to good use to educate readers on art history.

Some time ago I tried to read this book, but put it away after about 10-20 pages. I found it difficult to understand and couldn't follow where the writer was trying to go. At first he said one thing, a few lines further he said something that seemed to contradict the first. And at first sight, the book also seemed to confirm my prejudices about the 18th century: it starts with a chapter about rococo. And for someone like me, who is interested in the the art of the 19th and the 20th centuries, rococo doesn't seem to be really very interesting, with its grandeur and its purely decorative purposes.

A week ago, I decided to try it again, now determined to go on with reading, even when I didn't understand everyting. And with every chapter I read, I saw that this book wasn't just an attempt to write an objective and dull survey of some forgotten and uninteresting age, but a very subjective and 'involved' pursuit to show the reader that it can indeed be an interesting age when one tries to understand it better and that it certainly shouldn't be a forgotten age, because of some very interesting inner dynamics and some very interesting artists, who even now keep on puzzling and fascinating us.

Indeed, the inner dynamics of the age are the ones who are responsible for the seemingly contradictory statements of the writer. But when one finishes the book and reads the introduction over, like I did, he understands better what the writer really wants to show: that this isn't an easy to understand, 'one-layered' age, but an age of "violent collision of opposing forces"(p. 9). In the arts mainly the collision between rococo and neo-classicism.

But the writer doesn't stop there: there is also a chapter about painters who had purely scientific goals in their paintings, influenced by the new scientific findings, like those of Darwin. There is a painting by Goerge Stubbs, an artist I didn't know till now, called 'Leopards': it is one of the most beautiful paintings of animals I've ever seen.

And then there are two chapters dealing with two artists: a chapter about Watteau and a chapter about Goya. The first following the chapter about rococo and the second following the chapter about neo-classicism. This is a very good choice, cause when one reads about 40 pages about a considerable amount of artists and paintings, one tends to lose the thread. But when one reads a chapter after that about just one artist and how this artist exemplifies the age and the movement he was 'part of' in an outstanding way, one can pick up the thread again and enjoy the complex developments of the age.

And this is what the book is all about: though rococo and neo-classicism existed next to each other, simultaniously, for some time, there was also a real development from the passive rococo to the revoulutionary art of around 1789, and the reaction of art to the revoultion and to the wars that spread from it, especially in some paintings of Goya.

When I finished the book, I was so fascinated about this last artist, that I went straight to all the bookshops in my town and bought all the books I could find about him.

After all I can say I have a new hobby added to my hobbies: reading about the 18th century, especially when it is written so well.

Though first published in 1966 as part of the Preager world of art series, this book still has much to tell us about trends in 18th century, particularily French art. The chapter on Watteau, espiecally, still has a suberversive tone to it: Levey was trying to rescure, recuperate Watteau, showing him to be a suberversive figure, somewhat antagonistic to the Rococo style then championing, showing him to be prefiguring trends that would emerge later in the Revolutionary period. The illustrations, many in color, are well-carried out, and it makes a good read as well as a nice book to have laying around. You will find yourself picking it up every now and then, and with its small size you can take it along to the museum with you.