In a land that forbids the study of magic, the discovery of an enchanted gold medallion portends a future of great mystery within its inscription:

A Queen, who will not walk as one,
For she was given the power of three,
Shall take a king of stolen name,
To rule on land and sea.

The prophecy holds the promise of unlimited power, glory and wealth, but is Tahlee, a young sorceress, the one chosen for such a high place? The truth will not be revealed until all the medallions are found, and returned to Trios, the ancient city once built to bring peace to the warring nations of men and elves.

Dark creatures of unbridled rage, and beings of immeasurable beauty also wait for their fate to be decided. The union of one man and woman will restore the earth to its old magic, or send it into a greater darkness. Who will be worthy to judge?

In the mid-1880s The Builder, an influential British architectural journal, published an article characterizing Renaissance architecture as a corrupt bastardization of the classical architecture of Greece and Rome. By the turn of the century, however, the same journal praised the Renaissance architect Filippo Brunelleschi as the 'Christopher Columbus of modern architecture.' Victorian Perceptions of Renaissance Architecture, 1850-1914 examines these conflicting characterizations and reveals how the writing of architectural history was intimately tied to the rise of the professional architect and the formalization of architectural education in late nineteenth-century Britain. Drawing on a broad range of evidence, including literary texts, professional journals, university curricula, and census records, Victorian Perceptions reframes works by seminal authors such as John Ruskin, Walter Pater, John Addington Symonds, and Geoffrey Scott alongside those by architect-authors such as William J. Anderson and Reginald Blomfield within contemporary architectural debates. Relevant for architectural historians, as well as literary scholars and those in Victorian studies, Victorian Perceptions reassesses the history of Renaissance architecture within the formation of a modern, British architectural profession.

In the mid-1880s The Builder, an influential British architectural journal, published an article characterizing Renaissance architecture as a corrupt bastardization of the classical architecture of Greece and Rome. By the turn of the century, however, the same journal praised the Renaissance architect Filippo Brunelleschi as the 'Christopher Columbus of modern architecture.' Victorian Perceptions of Renaissance Architecture, 1850-1914 examines these conflicting characterizations and reveals how the writing of architectural history was intimately tied to the rise of the professional architect and the formalization of architectural education in late nineteenth-century Britain. Drawing on a broad range of evidence, including literary texts, professional journals, university curricula, and census records, Victorian Perceptions reframes works by seminal authors such as John Ruskin, Walter Pater, John Addington Symonds, and Geoffrey Scott alongside those by architect-authors such as William J. Anderson and Reginald Blomfield within contemporary architectural debates. Relevant for architectural historians, as well as literary scholars and those in Victorian studies, Victorian Perceptions reassesses the history of Renaissance architecture within the formation of a modern, British architectural profession.

In a land that forbids the study of magic, the discovery of an enchanted gold medallion portends a future of great mystery within its inscription:

A Queen, who will not walk as one,
For she was given the power of three,
Shall take a king of stolen name,
To rule on land and sea.

The prophecy holds the promise of unlimited power, glory and wealth, but is Tahlee, a young sorceress, the one chosen for such a high place? The truth will not be revealed until all the medallions are found, and returned to Trios, the ancient city once built to bring peace to the warring nations of men and elves.

Dark creatures of unbridled rage, and beings of immeasurable beauty also wait for their fate to be decided. The union of one man and woman will restore the earth to its old magic, or send it into a greater darkness. Who will be worthy to judge?