Glasgow Museums has the finest collection of Italian paintings of any civic museums service in the UK. It includes some 150 paintings ranging from the late 14th century to the late 19th century. This catalogue begins with an historical introduction to the collection and its donors, and includes 192 colour reproductions.

An authoritative and comprehensive celebration of the life and work of one of the most prominent artists of the Venetian Renaissance Meticulously researched and luxuriously illustrated, this volume offers a comprehensive view of Vittore Carpaccio (c. 1460/1466–1525/1526), whose work has been admired for centuries for its fantastical settings enriched with contemporary incident and detail. Capturing the sanctity and splendor of Venice at the turn of the sixteenth century, when the city controlled a vast maritime empire, Carpaccio combined careful observation of the urban environment with a taste for the poetic in his beloved narrative cycles and altarpieces. Providing a new lens through which to understand Carpaccio’s work, a team of distinguished scholars explores various aspects of his art, including his achievement as a draftsman. In addition to emphasizing the artist’s innovative techniques and contributions to the development of Venetian Renaissance painting, this study includes an in-depth consideration of the fluctuations in the reception of Carpaccio’s work in the five hundred years since the artist’s death. Published in association with the National Gallery of Art, Washington Exhibition Schedule: National Gallery of Art, Washington (November 20, 2022–February 12, 2023) Palazzo Ducale, Venice (March 18–June 18, 2023)

This volume provides an account of the art and architecture of Venice and the principal cities of the Venetian mainland empire in the Renaissance, from 1450 to1600. Thematically organized, it puts special emphasis on the relationship between art and the political, social, and religious institutions of the Venetian Republic. Major painters such as Bellini, Titian, Tintoretto, and Veronese and of major architects such as Sansovino and Palladio are viewed in the context of the particular needs and ideologies of individual and institutional patrons. Moreover, the distinctive character of Venice as an artistic center is complemented by the discussion of the art produced in the mainland cities of Padua, Treviso, Vicenza, Verona, Brescia, and Bergamo, all of which similarly used visual means to assert their own separate identities. An up-to-date account of the art of early modern Venice, with specially commissioned essays by a team of internationally-known scholars is also included.

The book will provides the first detailed history of the Bridgewater collection. The story extends from the 3rd Duke of Bridgewater's purchases in Rome in the 1750s, then on to the major acquisitions of the 1790s (especially from the Orleans collection), then through the incorporation of the collection into the Stafford Gallery by the 2nd Marquess of Stafford (1st Duke of Sutherland), and finally to its reinstallation by Lord Francis Egerton in the new Bridgewater House in 1851. As well as providing a detailed account of the personalities and differing motives of three generations of collectors and owners, the book examines the ways in which the collection was arranged and displayed. It also discusses reactions to it by contemporaries, from sophisticated critics such as William Hazlitt, to the general public, and analyses major publications on it such as the four-volume illustrated catalogue by William Young Ottley of 1818. The illustrations will include many works sold from the collection aft er 1946 and now widely dispersed.

In a time of rapid change the old certainties seem insecure, globalisation and consumerism prevail and a future for religious faith is under question. Peter Humfrey grew up in Surrey, served in parish ministry and taught in a variety of parishes, dioceses, schools and colleges during times of development and upheaval. Passionate for adult theological and liturgical literacy he has designed training for ministry and has worked as a diocesan and national adviser in religious education and catechesis, collaborating with European colleagues in projects about faith and culture. In Hope's Daughters he explores the future of faith in the light of two sociological viewpoints, the modernism of Peter Berger and Thomas Luckmann and the post-modernism of Zygmunt Bauman. He then taps into a wide range of challenging and illuminating sources from liturgy, theology and life experience to answer the questions that now arise Topics under scrutiny include globalisation, consumerism, post-colonialism, deconstruction, the loss of institutional memory and the rise of the network. These cultural expressions are interrogated in the dialogue which takes place in the inculturation of faith, new methods of evangelisation and the growth of lifelong learning. Faith in the Paschal Mystery offers a new vision. Renewed communities offer a fresh look at ministry, the value of hospitality, new methods of catechesis and the inspiration of sacred space. The author believes that the way ahead lies in nurturing and promoting an ongoing dialogue between faith and culture.

Ted Bates joined the Royal Horse Artillery in 1910. Moving to France in August 1914 with the British Expeditionary Force, he fought in battles at Mons, Le Cateau, the Marne and the Aisne. In October 1914 the Brigade marched to Ypres and there faced the German forces across the Flanders fields. Ted was shot and blinded on 21st October 1914 at Ypres. In his diary Ted describes the events of each day, in retreat and in advance, in defence and in the heat of battle. With humour and humanity he reveals the skill and professionalism of the regular solider, and his loyalty to his comrades and compassion for victims. The author, Ted's grandson, sets each day in the context of the campaign. The causes and effects of military decisions flow through the daily events of the soldier's life in battle. This book covers the campaign up to the end of the First Battle of Ypres in November 1914. Photos and maps illustrate the stages of the campaign.