Europe Books

My grandparents got this for me before I left to study abroad in Paris for a few months. It didn't take me long to realize how useful it is. I literally didn't leave home without it! It had everything I needed and was small enough to fit in a purse, but not so small that it was difficult to read. The metro map in particular was accessible and very, very helpful. Highly recommended to anyone going to Paris, whether it's for a few days or a few years.

This book (mine is spiral bound, but the one here does not look it) is very useful to the traveler. The maps are very clear, in full color, and easy to understand. My only complaint is that when you are looking at a page, if you want to view the continuation of that page, there is no reference to what page to view next. There is a small diagram showing what section the page highlights, but I do not find that quite as clear. But overall, a good, portable map of Paris for visitors.

I spent the fall semester of 2003 studying in Paris. I'm a type A so I was really prepared before leaving -- I'd done a ton of research and I couldn't imagine arriving in Paris without a map. So I headed down to my local bookstore to buy one. I happened to come accross this Michelin map and it was perfect!!

It has ring binding so it's really easy to keep open without creasing the pages. It's also broken down by arrondissement and in the back is a road index. All of the metro stops and even taxi stops (a God send at times) are marked down!! And in the inside cover you find a map of the Paris Metro system. It's also really really thin and can easily be taken wherever you go.

I really couldn't have down without this Paris Pocket Atlas!

My friends all purchased their maps in Paris (Paris Pratique). Trust me though this one is far better and more convenient!!!

I loved it!!

I bought this map for my trip to Paris. It is such a great map. Very readable and so well organized. Having a map in a booklet format like this is indispensable.

This pocket Atlas of Paris is a book/map that truly amazes me. I bought it based on the reviews here, and I am still awed by it. The navigation of the pages is well-done and user-friendly. You can quickly lookup and flip to the right neighborhood you need. The level of detail is amazing. Even pedestrian-only shopping arcades are there. The metro stations are easy to find and use. With this spiral atlas and a mini-compass velcro-strapped to your watchband, you will never be lost in the maze of Paris. Key sights and monuments are labeled and drawn in brown (with the correct building geometries!). Wanna change plans on the fly and zip from one neighborhood to another? no problem. You will spend less time looking for sights and more time touring. We even used the one-way street detail of the atlas to pre-plan our drive thru the hustle of Paris traffic; Zipping around the Place de Madeline and Champs Elysees was a real rush and treasured memory. The whizzing by of passing scooters made me feel like I was an X-wing in a Tie-fighter dogfight. I wish I could have a guide like this for every city we tour.

This wee 12-mo of the 1526 Tyndale New Testament from the press of the British Library is the closest most will come to the genesis of the English-speaking bible which was to appear 85 years later in the guise of the familiar King James Version of 1611.

The prefacist, David Daniell, is known for his modern language version published by Yale University Press, but this is the original Tyndale-spelling edition for we purists. The introducer, W R Cooper of Oxford, employs his eight pages so profitably as to leave the reader edified and stocked with a trove of bibliophilic lore and conversation from the dawn of the Reformation.

Here begins the second chapter of Matthew:

"When Jesus was borne in Bethleem a toune of Jury, in the tyme of kynge Herode. Beholde, there cam wyse men from the est to Jerusalem saynge: where is he that is borne kynge of the Jues? we have sene his star in the est, and are come to worship hym. Herode the kynge, after he hadd herde thys, was troubled, and all Jerusalem with hym..."

This is the English language in the swaddling clothes of its very infancy. Its rustic power thrills us, even unto these very days...

If one is serious about Bible study and is only fimiliar with the King James version then this little book is worth considering. From the Geniva Bible on the Bible has been written in verses, which lends itself to taking the meaning out of context. This gives a much distorted view of the meaning and spirit of the Bible. There is a reason the King James is "authorized" by King and Church (it was never authorized nor did King James have anything to do with it). It could be manipulated and is manipulated even more so to this day. Just because people have been extracting meaning from the Bible by combining verses from different chapters and even books, for 400 yrs., doesn't make it correct.
This book is small and the print is small but very readable. The spelling is at times a bit difficult but one quickly becomes used to it. The difficulty is soon over come and the rewards of a fresh view, free of agendas and controle, is worth the time spent. I understand that there is a movement twards studing the Bible in its original form. I think reading this version will help you understand why.

I was very impressed by the quality of the binding of this book, as well as the paper. It has been very difficult putting this little book down. Now I am enjoying reading this New Testament, and it really isn't difficult to understand, even with the original spelling. I highly recommend this book.

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This reprinting of the first translation of the New Testament by William Tyndale is a true treasure today - as was the original in 1526.

Through his ardent devotion, careful and diligent scholarship, and fluency in New Testament Greek, Tyndale seems to have accomplished an ideal pairing of literal accuracy and beautiful readability. Even though his original spellings have been retained in this reprinting, within my first day of reading this volume, I was able to become comfortable with these, and they have seldom slowed my reading since. I found it very easy to understand - a much easier and more fluid read than either the current renditions of the King James Bible or the writings of Shakespeare. The only drawbacks I noticed were the unfamiliar spellings (which I quickly moved beyond) and the use of chapter numberings only, with no verse numbers.

Tyndale's 1526 version was the first translation of the New Testament into English, and personally, I doubt that its overspreading of innate beauty and scholarship have been equalled since. It is said to have formed the basis for much of the 1611 "King James Version", but I far prefer the Tyndale translation. It is worth mentioning also, that the items noted in Tyndale's own errata on his 1526 version have been fully reflected in the text of this re-publication. This is no facsimile version, but a readable English text well-suited for serious study as well as for reading pleasure.

Someone has pointed out that, historically, it was around the time when written language moved beyond picture-based heiroglyphics to a more objective and stable, alphabet-based, form when the Old Testament first began to take shape; and that it was at the historical peak of precision and beauty in written language that the Greek New Testament was given. It seems that the original translation of the New Testament into English was no less a glorious work of providence and timing, and that Tyndale was ideally qualified for this very thing.

I believe that, apart from the gift of Jesus' own Presence and Spirit within the hearts of believers through the New Birth, the Tyndale translation of the New Testament was certainly the most wonderful gift that English-speaking believers in Christ have ever been given: God's Word beautifully and accurately conveyed in our own language. I believe this translation to be an authentic, and God-given treasure. I am so glad to have discovered it! I pray that you may too!

Hard to understand the spelling in some places, but for the most part was easy enough for me to read. It was facinating to read the original spelling version, and compare it to the corrected spelling version. There ARE some debatable differences in the translated words they chose to use!
This text, along with the 1599 Geneva Bible and the 1611 King James Version, provides a TRUE rendering of God's Word. One can really see how His Word has been altered through out the years, especially when one compares it to the newer bible versions.
It was also good to read it without the chapter divisions, as this has also lent to the different viewpoints and interpretations. A VERY good book for those in search of the ultimate truth!

What a great addition to any St. Patrick's Day arsenal! A great cliff-hanger-type folk tale, complete with kings, sea monsters, vindictive witches, and a heroine who gives a whole new meaning to "riding off in the sunset"! The illustrations are superbe! My kinders raved about this book, even though I feared it would be a bit above them. We read it in sections, stopping at the brink of each near-certain disaster, so that it was just the right amount of listening for my many wiggily boys!! It fits in so well with our current fairy tale theme, that I would include in this genre, as well. This is a not-to-miss adventure, complete with classic twists and turns, and a few new ones!

I bought this book for my nephew but decided to wait to give it to him for several reasons. The main one being that I absolutely LOVE the book myself! LOL! However, while the story is good and I know he'll enjoy it, he's still a bit young (not even 2); it seems more appropiate for 4 years old or older.

In the story, Young Kate uses her wits to save her family and her village with an ending I never saw coming -- not your typical 'Fairy Tale Ending' but an excellent one nonetheless especially for our modern times. I fell in love with the illustration's ton of detail that kept me looking at each page long after the reading was over.

My one complaint is that, while the book itself is good sized so you can see the pictures, the paperback edition seems a bit flimsy. If this story is to be loved (and thus read) as much as I think it will then I may have to order another copy or two to last through the years. Perhaps the school binding edition is more sturdy?

Both girls and boys will enjoy this story and I think you grown ups will, too.

"O'Sullivan Stew" is a rollicking book with a truly heroic female protagonist. The pictures are both lovely and funny--if you pay special attention to facial expressions I guarantee you'll be laughing out loud. Kate, the heroine, spins yarns with a skill beyond her years, painting pictures with her inventive tales. Her speech is like music--you can practically hear her brogue while you're reading. And if her storytelling doesn't convince you that she's painting pictures with her words, then the illustrations will. They vary from dreamy pastels to muted and murky to bold and bright depending on the nature of the tale she's telling. And when she stops, the world turns black and white.

Not only does this book contain excellent illustrations, a strong, believable heroine, and a captivating story line, but there are several surprises and an unexpected ending. I hope you'll read it... it would be a shame to miss out on such a marvelously fun book!

This is probably my favorite story for a St. Patrick's Day read aloud. The village of Crookhaven is cursed when the local witch's horse is stolen by the king. Kate O'Sullivan and her father and brothers try to steal the horse back but are captured. It is up to Kate to weave a series of tales to get them all off the hook by describing other "true" stories where her family was in a "worse spot" than this one. The King is amused and enthralled by Kate's tales until the last one and all her work is about to be undone until an astonishing secret is revealed.

Hudson Talbott's illustrations are a riot of color and action. The expressions of the characters are so evocative you will laugh out loud.

Grab some Irish music to play in the background and share the story with everyone. The story will compell you to read with an Irish brogue even if you never have before.

Hudson Talbott books are like having a storyteller sitting at your elbow. The pacing of the story as it interplays with the illustrations is perfect.

The Irish have long memories, and even longer tales to reflect that. This book is a wonderful way to get children caught up in the excitement and tension of a classical tale, while also giving them a resourceful and modern heroine to admire. The book is everything a children's story should be: it's funny, the languish reads well and beautifully, and the illustrations are well done. This is a must-have.

This well-researched and (necessarily) somewhat-speculative work covers the sustainment of Freemasonry in Scotland in the time just before Masonry went public in 1717. The title is less accurate than the subtitle, however, for it creates more questions than it answers. For convincing speculation on the actual origins of Freemasonry (and one that fits well before this book if one will take William Schaw as patron and not creator of the Craft), read "Born in Blood" by John J. Robinson.

Prof. Stevenson, a non-mason, has stumbled upon freemasonry while specialising in the history of the Scottish covenanters. He adds academic structure and his formidable historic knowledge to the unwritten part of Scottish masonry, - an oral tradition of memorized texts and a rich variety of lodge rituals, -way before George I's (a Hanoverian who spoke no English) attempt in 1717 to create a system of control by establishing the Grand Lodge of England. Mr. Stevenson may be forgiven for not understanding masonic imagery, however he has given us a well presented insight into Scottish masonry. His impressive work sets new standards in masonic history, based on verifiable and reproducable evidence rather than on wishful thinking. A highly recommendable book.

Though sometimes the reading is a little dry, this book is full of great history. Origins of some aspects of masonry few have heard of. Any Mason who loves history, will find it interesting.

Outstanding scholarly work. Not an easy read, but full of the details and exacting research one expects from an academic of Stevenson's stature. I am on my second time through this book.
Any Brother who considers himself a Masonic scholar should be in possession of this book.

There are about as many explanations of Freemasonry's origins as there are explainers. From Freemasonry's own dramatic and fascinating legends to paranoid conspiracy theories, along with overly fanciful New Age yarns, unsupported armchair guesswork, bestselling thrillers, and careful historical investigations. This book is an exemplary model of the latter. David Stevenson has brought his scholarly acumen and disciplined historical expertise to bear on a much muddled subject, arriving at conclusions as plausible and modest as they are interesting and original--not to mention refreshingly clear.

The first seventy pages or so are extremely dry, and after a while started to wear on my patience. My advice: bear with Stevenson as he lays out the facts here, grounding Freemasonry's murky prehistory firmly in the socioeconomic facts of Medieval Scotland. From this he can demonstrate convincingly how Renaissance elements of Hermeticism, Neo-Platonism, the Art of Memory, and Vitruvian valorizations of architecture came to inform the self-characterizations and common practices of these prior craft guilds, gradually transforming the latter in the process. He sticks closely to previously unconsidered primary sources of the time in question rather than later reconstructions so as to uncover the unfolding of this complicated process, mining fragmentary manuscripts, local records, and other such often overlooked sources tucked away in the shadowy corners of old archives for what they have to tell us--cautiously and painstakingly distinguishing certain fact from plausible but ultimately unverified speculation based on those facts as he goes along. In the bargain he makes a strong case for his rather original thesis that much of early Freemasonry as we know it today developed in Scotland and only then spread to England (and from there to the rest of the world), substantially altering our picture of this intriguingly complex process thereby.

And it's rather amusing to think that it all started with a stray reference the author came across in the midst of pretty much unrelated historical research, one he decided to follow up on for the heck of it and maybe write a little article--an article that grew into two whole books, this one and the more locally detailed The First Freemasons: Scotlands Early Lodges and Their Members. Stevenson's extensive consideration of the Scottish proto-Freemason Robert Moray--crucial in accounting for the evolution of Freemasonry's symbolism, social values, and ethical orientation--has apparently also blossomed recently into his editing of Letters of Sir Robert Moray to the Earl of Kincardine, 1657-73. So what started out as a lark has grown into a sustained scholarly pursuit, of which "The Origins of Freemasonry" here is a key work and perhaps the most accessible for the generalist. Indeed, if you are looking for a sober, reliable book on this topic, this one fits the bill nicely.

I had the pleasure of being a student of Terry Parssinen around the time this wonderful story was released. Needless to say, I couldn't be any more prouder as to what he has uncovered. It is a refreshing book to read in regards to his opinion as to what might have happened; And I'm not just saying that because I was once his student. Excellent read!

To see how close WWII could have been stopped at least in the European Theatre, this book keeps you on the edge, even though you know the outcome. Excellent.

An interesting book about a fascinating "what if" of history. Parssinen makes a convincing case that the plotters of 1938 were closer to success then is generally credited. His case also illuminates the tragedy of appeasement for Great Britain, Germany and the rest of the world.

I learned a lot I did not know about Hans Oster, who comes off as an extremely admirable person and plotter.

Few history books raise to the high bar of objectivity that we're expecting from sciences in general. And objectivity in this context has mainly to do with the broader political context of the times in question rather than just a selective exposition of facts. Too many times, focusing on a certain historical issue without the proper context leads to erroneous interpretations.

Interpretation is not only an academic concern, especially when applied to political sciences. The meaning assigned to facts, the interpretation given has practical consequences, and the book "The Oster Conspiracy of 1938 : The Unknown Story of the Military Plot to Kill Hitler and Avert World War II" points out to little thus far known details about those times, about the framework, internal and international in which Hitler operated, about the blown chances to recognize the opportunity (when it presented itself) to deal with the hitlerite threat in a much less fatal fashion.

The account in this book is fundamentally different than in a typical "what if" book. "What if" books border on fiction. Their premise or starting point is fictitious. This book's premise is not fictitious at all. It's researched facts. The only "what if" part of it is the argumentative interpretation of the British politicians both a priori and a posteriori of the chances of a coup d'etat in Germany, had they agreed to send an unmistakable signal that they do not accept to be bullied and made a joke of in front of the whole world at gunpoint.

A good, objective and reflective read. At times it feels just like a novel and not a researched history text.

It's shocking to me that the events in this book aren't chronicled in every high school and college World History class. The fact that, as Hitler resolutely thrust Germany toward war in September 1938, nearly all his troop commanders had decided to revolt against a war they were certain would mean the destruction of Germany, casts a long and dark shadow on modern-day attempts to deal diplomatically with fanatical national leaders.

Ironically, Hitler's generals had realized what the leaders of the Western democracies had not: that Germany stood to be quickly and decisively defeated in a war against England, France, and Czechoslovakia. On the very morning that Chamberlain, in a pitiful "if Daddy says no, ask Mommy" display of desperation, was grovelling with Mussolini for a peace conference to negotiate German occupation of western Czechoslovakia, armed men were positioned to storm the Reich Chancellery and kill Hitler at the first announcement of war.

More than just a surprising lesson in history, this work speaks volumes to today's leaders of free and peaceful nations in dealing with hostile regimes in the Middle East or Chinese aggression toward Taiwan. Peace kept by capitulation and appeasement is a peace that cannot last, and serves only to sustain and embolden expansionist, warmongering tyrants.

This is an excellent and informative book. I was however quite surprised that Checchino, which I believe has 1 Michelin star and is possibly the best known restaurant in Rome, doesn't rate a mention, especially as it certainly fits the Slow Food motives.

This book was an invaluable resource. Perfect for those who cherish great meals and good wine. We toured Italy from Lake Como to Verona, Venice to Florence and Bologna. In each city we made a point to eat at a site mentioned in this book. Every meal was unbelievable !!! We would love to see more Slow Food guides for other cities around the world.

We brought this book prior to an '07 three week trip to Northern Italy. It is based on the 'Slow Food' movement now going on in Italy. We purchased a number of other books to supplement this one. This book is excellent for people who want to "go" the way the Italian do, i.e., good food (a must for them)at a reasonable cost and small hotels/B & B types without all the hype. We are now using it again for a late '08 trip back to Northern Italy. As a side point - there are also Slow Food shops in Italy where you can purchase quick meals or food items to take away - all of the highest quality and fair price. Remember this "Slow Food" movement was started by Italians for their own people - the main idea was for top quality food and reasonable accomodation at a fair price and they have achieved it. Remember to look for the "Golden Snail"

An essential handbook for anyone with dreams of eating their way around Italy. The descriptions evoke strong images of romantic nooks with sumptuous offerings - all supporting the Slow Food philosophies of local quality ingredients prepared by passionate gastronomes. Included are accommodation options covering 3-star hotels to intimate farm stays. I won't travel to Italy without it.

I almost hate to recommend this book since the Italian language editions have been sort of our secret for many years. Now anyone can find these wonderful places to enjoy authentic regional foods and wines in the REAL Italy! We've been to many, many of these places over the years and the descriptions of them are spot-on so I'm confident that the places we have yet to enjoy will be equally as good. Be patient though, just because the book is in English does NOT mean the folks at these wonderful eateries speak the language. The glossary helps a lot in this regard.

Painting The Word is a truly outstanding guide to Christian paintings and their meanings brings art and spirituality together in an inspiring coverage. More than a history of painting, Painting The Word discusses how Christian images reflected and influenced Christian civilization as a whole, with a universal quality delivering balanced messages. Color reproductions of significant classic Christian art works appear throughout.

As an ordained Anglican priest and the dean of Christ Church in Oxford, John Drury is by no means an accredited art historian but he is a trained artist and has a knowledgeable background in theology and New Testament exegesis. Depicted as "a book about how Christian paintings convey their messages" (p.ix), Painting the Word uniquely "extends" the "historically iconographical, or picture-describing, approach" to art by incorporating spiritual "meditation," in order to bring the reader through a "contemplative waiting process" of viewing Christian artwork (p. xi-xiii).

John Drury specifies that the purpose of the book is for the reader to take ownership of the paintings and receive `spiritual nourishment' from them. What originally began as `postcard sermons' describing artwork exhibited in the London National Gallery, has developed over time into the authoring of this wonderful book, which is full of photographic illustrations of European Christian paintings from the 14th to 18th century.

The author successfully brings the reader along on a spiritual journey through the life, death and resurrection of Jesus. Drury groups paintings under each key moment of the salvation story, starting with the Annunciation, to the Nativity, to Christ's baptism and ministry, and culminating with his death and resurrection. In this way, Painting the Word is entirely Christocentric, as it focuses on the sacrificial narrative of Jesus "from conception to resurrection" (p. xiv).

I question whether Drury successfully builds a connection between the artwork itself and the spirituality being conveyed by the artist, because Drury presents some very odd theological concepts throughout his book. I disagree with Drury's constant insinuation that the original painters understood the biblical scenes that they were depicting as "myths." For example, as Drury begins his discussion of paintings depicting the Annunciation, he states, "A dialogue between Mary and the angel follows. It can only be imaginary, but... it is held together over a respectful distance by their mutual regard" (p.41). Drury claims on the very next page that the "moment" of the Annunciation is thanks to the "imagination" of St Luke and St John. Is Drury actually insinuating that the dialogue between Mary and the angel was only a fantasy? Would the artists of the Annunciation paintings really see their portraits as depicting a mythical scene? If so, then a plethora of Christian artists from the 14th to 17th centuries must have believed that Christianity was nothing more than a "myth", as Drury repeatedly refers to sacred Tradition as "myth" throughout the book (cf. p.48, 89, 114). It is more likely that Drury is imposing his own view upon the reader rather than objectively bringing out the artist's intended spirituality.

A more detailed review is available on my website:
http://members.shaw.ca/angelamccormick

This book is without doubt one of the more beautifully prepared and printed books in my collection. Done by the Yale University Press in association with the National Gallery of London, virtually every page is a treasure. There are nearly two hundred full-colour-process reproductions of artworks throughout the text, and every page (not just the colour plates) are heavy bond, high-gloss stock that shows the ink and colour with vibrancy and depth.

John Drury spent a career at both Cambridge and Oxford dealing in matters of theology, ecclesiology, liturgy, and art. I discovered Drury's book while attending a course at my own seminary on the church and the arts, and kept finding myself frustrated at the rapid pace we would go through topics (a frustration I know the professor teaching the course shared - how does one do justice to 2000 years of music, architecture, and art in a mere 15 sessions?). I sought out supplemental materials to help fill out the outline, and Drury's text serves the purpose in many ways.

Drury states his purpose early in the text. `This is a book about how Christian paintings convey their messages. It takes on whole paintings. It is not content with just picking symbols out of them for identification. Composition, colour, contents (including architecture and landscape as well as figures) and the ways in which the paint itself is handled - all are treated as part and parcel of their religious meanings.' This is a holy and holistic approach.

Drury adopts a kind of picture-describing approach (one that he terms `historically iconographical'). This involves absorbing details while understanding context and material. This is the same kind of attention that worship requires (and indeed, the Eastern church has always had this kind of physical artistic interplay with the tradition of use of icons for prayer, meditation and worship purposes) - it requires an openness to experience and feeling while also benefitting from understanding and guidance.

Major artists and works studied in detail in this text include the work of Tiepolo (c. 1750s), the Wilton Diptych (anonymous, c. 1390s), Titian (c. 1510-40s), Duccio (c. 1310s), Filippo Lippi (c. 1450s), Poussin (c. 1630-50s), Rembrandt (c. 1640s), Piero della Francesca (c. 1450-70s), Caravaggio (c. 1600s), Rubens (c. 1630s), Velazquez (c. 1610s), Cezanne (c. 1900s), and others. Most presentations begin by showing the whole work, then proceeding to look at individual characteristics or highlights often pulled aside in side images or isolated for greater emphasis. The text and artwork is arranged in good pattern throughout the text.

Throughout his text, Drury makes a repeated call for care, meditation and attention to be given to the artwork as well as the response to the artwork. He makes that statement that we should stay in front of the images `longer than people usually do' - noticing in museums, art shops, churches and other places that people tend to shuffle past rather than give attention to the most stunning and sublime works of art. Drury draws in history, theology, philosophy, literature, biblical references and images, and other cultural and contextual references to make the experience of these works a full and profound one. This is not a book to be read quickly or glanced over lightly.

Drury includes a narrative annotated bibliography rather than a simple list; he provides both a general bibliography for the entire text as well as a selected bibliography for each chapter/topic.

This is a wonderful book, a great gift for oneself or for others. It is particularly good for those who want a deeper experience and understanding of the way in which art has and can interact and enhance one's relationship with Christianity and its message.

Reasoned analysis involves dissection of statements and dissection of images. The dissection is needed to detect evidence or to expose the lack thereof. The reason analysis of images is needed is that all of the images are not natural. They are iconic based on conventions (like language) and therefore Christian images are signs. The discipline to investigate them is not the neuropsychology of perception but semiotics, the science of signs. Here we have an excellent semiotic rhetoric of Christian images informing us of the meaning of the signs and the meaning behind the images given to us by an expert in both religion (John Drury is a priest) and in the history of art. The cross, the scourging pillar, the spear and the sponge on a cane -all these have meaning. Particularly interesting was Chapter three with the dissection of the different presentations of the annunciation by Duccio as compared to Lippi and Poussin and the biblical quotes that supported each artist's view of what happened and how it happened.

John Drury is an art historian who uses his vocation as a priest to explain the subtlety of meaning that lies hidden in the symbolism of religious paintings in London's National Gallery.

Anyone how has looked at such a painting but not "seen" it, would do well to read this wonderful book and share the insights that the author offers. Paintings that I would have passed by with scarcely a second glance, are revealed within a context of their time, with reference to their history, the world view of the artist, the common and uncommon symbolism employed and much else besides.

It gives the possibility of sharing a visual language that we have lost and enables us to understand what it is about a picture that we sense is great, without comprehending why that might be.

It is hard to think that anyone who has ever visited an art gallery could not profit from reading this book and has certainly given me the enthusiasm to go and look at the pictures for myself.

Excellent book with that real Paris feel, a feast of classic French cityscapes and architectural heritage, a visual source of art inspiration that is both easy on the eyes and stimulating, recommended .

... then you'll love this one. For the sketches of the Parisian scenes are wonderfully well-drawn. Sometimes you'll be amazed to find out the "spots" that you didn't pay much attention on while you were there. Also, It captured all different moods..... and you feel like you are visiting Paris AGAIN!

A grand book for travelers to Paris or those already in love with the "City of Lights"!

Fabrice Moireau's watercolors and sketches bring the City of Light to life, and vividly captures the atmospheric city with its teeming cafe life, historic buildings, and new constructions. The book is divided into several segments covering the historic center, Northern Paris, Eastern Paris, Southern Paris, Western Paris, and the Gazetteer provides additional information of some of the prominent buildings featured. Moireau's paintings and sketches are accompanied by Mary Kelly's impressions of Paris, and both perspectives provide a wonderfully warm portrait of the City of Light.

A "Paris Sketchbook," captures Paris superbly. Walk again down the streets of Paris, sit in a cafe, or in a paris garden, or wonder again at Paris buildings and architecture. It is all there and captured beautifully my Mary Kelly's precise and spiritual prose, with Fabrice Moireau's water colors of Paris. The pictures and prose combine to be more like a musical piece, one reads and then "hums" like a tune from time to time. If one is looking for that special gift or souvenir of Paris, this is it. Enjoy Paris again and again, or tanalize those who plan a visit to Paris.

This is a delightful gem which captures the spiritual inspiration of the pilgrimage both historically and in the modern context. It is a marvelous book for those who intend their journey to be more than just a long cultural hike.

For my recent comiplation of pilgrimage quotations ("Ultreia! Onward! Progress of the Pilgrim") I read all 40 or so contemporary English journal accounts available about the various routes. Rudolph's is clearly within the first grouping of 8 or so best such books (i.e. largely those written by established authors and/or academics). He is able to convey in a fraction of the pages of other volumes many interesting and important aspects of undertaking such a pilgrimage. Though not the most quotable of sources (i.e. 7 such extracted for the review volume Ultreia! Onward!) Rudopplh nevertheless is particularly good at writing about the process of pilgrimage.

The book reads as if you were sitting in an art history lecture -- the author writes using simple, direct, yet descriptive language. While the narrative is framed around the St James trail, it is really a book about inner transformation, not a description of the external world and the landmarks one sees during the pilgrimage. In all, the book has helped me prepare my frame of mind for the bike pilgrimage I am about to embark. The best part -- it's a short and quick read!

Conrad Rudolph, a professor of medieval art,has made the pilgrimage to Santiago de Campostela and knows enough about the history of the pilgrimage and the art and architecture to be seen along the way to write a book that tells not only how to prepare for the long hike and what to take but also what is to be seen and what it all means from a historical perspective.

As I write this review, I'm wearing the boots I plan to use on my own Camino pilgrimage next week. In addition to breaking them in, I've been preparing my body, mind, and heart for the long walk to Santiago. Reading "Pilgrimage to the End of the World" was an enjoyable and necessary part of that process.

Conrad Rudolph's book on the Camino de Santiago has four parts: 1) some historical background, 2) an account of his trek, 3) a series of black-and-white personal photographs with explanations that range from a paragraph to a page or so long, and 4) a practical guide (what to wear, how to pack, etc.). Despite its brevity (only 131 pages), Mr. Rudolph's memoir is packed with useful and interesting information. The surprising revelation that the author is a rationalist only serves to make his tale more compelling, especially considering the profound effect a pilgrimage usually done for spiritual reasons had upon him.

Indeed, the Camino began as an important medieval religious pilgrimage to Santiago, alleged burial place of St. James. But it has grown to accommodate folks on quests of many kinds. What's ironic about Mr. Rudolph's journey is that despite his rationalist mindset, he walked the farthest distance of any pilgrim, faith-based or otherwise, I've read about so far. He began in Le Puy, France, went through Santiago, and concluded in Finisterre - the "End of the World" on the Spanish west coast. That's about double the walking distance from the usual starting point of St. Jean Pied de Port, a French town on the Spanish border. And I thought we religious folk were supposed to be the crazy ones...

Despite his excellent account and helpful information, I part ways with the author in one key area: his firm recommendation of an external-frame pack. He's correct about the increased ventilation it offers, since the external frame holds the pack away from one's back. But according to another pilgrim's memoir, you'll sweat no matter what kind of pack you carry. Also, there are far more sizes and types of internal-frame packs to choose from. At REI I found only one model of external frame pack for sale among the plethora of internal packs - a forlorn Kelty similar to the one the author used. Bottom line, I'd say that an internal-frame pack is a better choice (I'm taking a 4,300 cubic-inch Gregory Baltoro).

At any rate, "Pilgrimage to the End of the World" is a must-read for anyone contemplating, or actually preparing for, the Camino pilgrimage. Other helpful and inspirational books I used to get ready include: "Buen Camino," by Jim & Eleanor Clem, "Camino Chronicle" by Susan Alcorn, and "Fumbling," by Kerry Egan (also, check the Confraternity of St. James' website for lots of good info and up-to-date Camino guidebooks). If you choose to go, let me be the first you wish you a Buen Camino!

UPDATE 9/7/07: On 7/14/07 I stepped off in St. Jean Pied-de-Port (France), and on 8/24/07 I walked into Santiago, Spain. Turned out that the boots I mentioned in the first paragraph were too heavy, so I bought a lighter Spanish pair in Logrono that served me well. My internal-frame pack was the Camino standard (although the model I had was too large and initially weighted down with unnecessary stuff) - out of the hundreds of pilgrims I saw, only a couple had external frame packs. At any rate, I recommend this book as necessary reading for anyone planning to walk the Way.

Having spent quite a bit of time in Provence I love to grab this book and go back there, remembering all the times and meals. Creating dishes from this book really helps me to enjoy Provence all over again.

I was a little suspicious of the series. After all, should we trust a book more suitably sized for the coffee table than for the kitchen counter? But my mistrust was misguided. The food is wonderful. All people have assumptions about "others," and one of the assumptions Americans make about the French is that their food is very difficult to prepare and relies on expensive ingredients. The truth is that French food need not be difficult and that it is a cuisine that recognizes the beauty of each season. Since my children bought this book for me, we have been building seasonal rituals around it. For example, we get salt anchovies from the neighborhood Italian deli for our Christmas eve appetizer. At Mardi Gras, we make the oreilles found in this book, which are the pastries sold as "pig's ears" or "angel wings" in the last days before Lent by Polish bakeries in Detroit. Depending on the bakery, they were known as "pig's ears" or "angels wings." My only criticism of the book is that I feel the need to keep it open in the dining room, lest kitchen grease spoils it.

"Provence, The Beautiful Cookbook" by Richard Olney is a beautiful coffee table book filled with exquisite views and mouth-watering authentic dishes from this region of France.

Every time I look through this book, I feel like I am on an actual journey to Provence. And each time, I close this book, I feel a strong yearning to actually see this part of France with my own eyes!

This book is divided into food chapters, like most cookbooks, but also, there are chapters about different areas within this region: Alpes-Maritimes; Soups and Starters; Alpes-de-Haute-Provence; Fish and Shellfish; Vaucluse; Meat, Poultry and Gram; Bouches-du-Rhone; Vegetables and Grains; Var; and Desserts.

A wonderful book for lovers of Provence!

I like this book, but it does point out one weakness in Provencal cooking...a slight lack of variety. There are multiple gratin recipes, good fish dishes, etc. It also doesn't shy away from organ meats, etc., much like the region itself. Like all the books in this visually stunning series, this one has lovely photography.

French born and 4th generation provençale, I take pride in the cuisine from my homeland and I have to confess I was a little wary about what I would find in this book. Well, the authors did a wonderful job at promoting the gastronomic traditions of Provence without betraying them. My grand-mother, our family's head-cook, and our culinary inspiration would have given her seal of approval without hesitation, would she have been around to discover this wonderful recipe collection and it is with her and my homeland in mind that I enjoy preparing the recipes featured in this excellent collection for my own enjoyment and the one of my (American) husband and our friends.