A poignant look into the psychological depths of the human mind-its possibilities and fragility. This is the impressive and sensitive legacy of the painter David Byrd. The artist joined the army during World War II and later worked as an orderly in the psychiatric ward of a Veterans hospital in Upstate New York. From 1958 to 1988, Byrd's keen observation of this world, filled with the crowded histories of its troubled patients, was recorded in the artist's sketchbook. This publication is a replica of the deeply personal, creative, and revelationary journal examining the human experience and its potential for pain and alienation on the fringe. Byrd's work was not publicly exhibited until 2013, only a few months before his death-an omission that seems absurd in the face of such a powerful output of artwork expressing the artist's perspective as a veteran himself and his empathy toward those living with psychological trauma.

Moving with the Magdalen is the first art-historical book dedicated to the cult of Mary Magdalen in the late medieval Alps. Its seven case study chapters focus on the artworks commissioned for key churches that belonged to both parish and pilgrimage networks in order to explore the role of artistic workshops, commissioning patrons and diverse devotees in the development and transfer of the saint's iconography across the mountain range. Together they underscore how the Magdalen's cult and contingent imagery interacted with the environmental conditions and landscape of the Alps along late medieval routes.

Major General Sir Isaac Brock is remembered as the Hero of Upper Canada for his defence of what is now Ontario during the War of 1812, and also for his noble death at the Battle of Queenston Heights. In the more than two centuries since then, Brock's likeness has been lost in a confusing array of portraits-most of which are misidentified or conceptual. The 1824 monument constructed to honour Brock's sacrifice was destroyed in 1840 by Benjamin Lett, a disgruntled disciple of William Lyon Mackenzie and critic of the Upper Canadian elite. The replacement and subsequent commemorations emphasized a patriotic desire to visualize the hero's appearance. But despite uncovering an authentic portrait painted only a few years before Brock's death, a series of false faces were promoted to serve competing claims and agendas. St-Denis situates Brock's portraits within an emerging English Canadian imperial nationalism that sought a heroic past which reflected their own aspirations and ambitions. A work of detailed scholarship and a fascinating detective story, The True Face of Sir Isaac Brock details the sometimes petty world of self-proclaimed guardians of the past, the complex process of identification and misidentification that often occurs even at esteemed Canadian institutions, and St-Denis' own meticulous work as he separates fact from fiction to finally reveal Brock's true face.