Campbell and Cole, respected teachers and active researchers, draw on traditional and current scholarship to present complex interpretations in this new edition of their engaging account of Italian Renaissance art. The book's unique decade-by-decade structure is easy to follow, and permits the authors to tell the story of art not only in the great centres of Rome, Florence and Venice, but also in a range of other cities and sites throughout Italy, including more in this edition from Naples, Padua and Palermo. This approach allows the artworks to take centre-stage, in contrast to the book's competitors, which are organized by location or by artist. Other updates for this edition include an expanded first chapter on the Trecento, and a new `Techniques and Materials' appendix that explains and illustrates all of the major art-making processes of the period. Richly illustrated with high-quality reproductions and new photography of recent restorations, it presents the classic canon of Renaissance painting and sculpture in full, while expanding the scope of conventional surveys by offering a more thorough coverage of architecture, decorative and domestic arts, and print media.

This book considers the reception of the early modern culture of Florence, Rome, and Venice in other centers of the Italic peninsula, such as Ferrara, Bologna, Ancona, San Gimignano, and Pistoia, which had flourishing local cultures of their own. Offering a perspective that focuses on dialogue and exchange between different urban centers and cultural groups, it also involves a reexamination of the Renaissance itself as a form of translation of a past culture, one that attempted to assimilate the lost or fragmentary world of the Roman emperors, the Greek Platonists, and the ancient Egyptians. Collectively the essays examine how the processes of cultural self-definition varied between the Italian urban centers in the early modern period, well before the formation of a distinct Italian national identity. Exploring how artistic forms made the transition from one Italian city to another, attention is also focused on the subtle modification of practice required by local conditions and priorities.

While the masterpieces of the Italian Renaissance are usually associated with Italy's historical seats of power, some of the era's most characteristic works are to be found in places other than Florence, Rome, and Venice. They are the product of the diversity of regions and cultures that makes up the country. In Endless Periphery, Stephen J. Campbell examines a range of iconic works in order to unlock a rich series of local references in Renaissance art that include regional rulers, patron saints, and miracles, demonstrating, for example, that the works of Titian spoke to beholders differently in Naples, Brescia, or Milan than in his native Venice. More than a series of regional microhistories, Endless Periphery tracks the geographic mobility of Italian Renaissance art and artists, revealing a series of exchanges between artists and their patrons, as well as the power dynamics that fueled these exchanges. A counter history of one of the greatest epochs of art production, this richly illustrated book will bring new insight to our understanding of classic works of Italian art.

Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to contemporary art, he combined scholarly erudition with an eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. Steinberg's perceptions evolved from long, hard looking at his objects of study. Almost everything he wrote included passages of formal analysis, but always put into the service of interpretation. This volume begins and ends with thematic essays on two fundamental precepts of Steinberg's art history: how dependence on textual authority mutes the visual truths of images and why artists routinely copy or adapt earlier artworks. In between are fourteen chapters on masterpieces of Renaissance and Baroque art, with bold and enlightening interpretations of works by Mantegna, Filippo Lippi, Pontormo, El Greco, Caravaggio, Steen and, finally, Velazquez. Four chapters are devoted to some of Velazquez's best-known paintings, ending with the famously enigmatic Las Meninas. Renaissance and Baroque Art is the third volume in a series that presents Steinberg's writings, selected and edited by his longtime associate Sheila Schwartz.

This book can stir-up hope within you, hope that will propel you to embrace the cost of your destiny-discipleship. To be a disciple is to be at work in His harvest. Jesus said that the fields are ripe for harvest, and we are in the days of the greatest harvest in history

This book will challenge and encourage you throughout its pages. You will be challenged to use the talents Jesus gives you.

Jesus is both an encourager and an exhorter. We see this as He spoke to the seven churches in Revelation. He exhorted them and encouraged them. This book follows the same pattern-to exhort and to encourage.

Jesus is full of grace and truth. Grace is not grace if it is not full of truth, and truth is not truth unless it is full of grace. This book attempts to be both gracious and truthful with you, the reader.

You can do it You can hear, "Well Done," because it is available to whoever is willing. If you are that willing one, then you will do what it takes to hear those words from Jesus. Great hope will come with your great sacrifice. Jesus endured the cross because He had great hope that His sacrifice would produce His bride. The same is true for you as you follow Jesus and labor in His harvest-you will hear, "Well done, good and faithful servant; enter into the joy of your Lord."

Deep in the heart of mankind is a cry-a cry for freedom. So, is true freedom possible? Yes, freedom from the bondage to sin and the fear of death is possible. No matter where you are in life, there is hope for you in Jesus Christ. You can live in the freedom Jesus purchased for you on the cross. That is, Jesus gave you certain rights for a life of freedom. We find those rights in the greatest book ever written-the Bible. Within its pages, your rights are "hidden in plain sight." In this book, The Christian's Bill of Rights, you will explore some of those rights.
In addition, this book is for the harvest that is upon us-one billion people will be born again in a short time. Most of these will be young people that will need help from established Christians to teach them what Jesus commanded. Therefore, this may be the most important reason for writing this book-to help you teach the new believers in Christ some of the basics of following Jesus. In other words, this book is not just for the established Christian, it is also for the new believer.
If you are a new believer in Christ, this book will help you to know the teachings of Jesus since it includes numerous verses from God's Word, which will validate the rights Jesus gives you. These many Scriptures included in this book will also help fan the flame in your heart to know all you can about God's Word. Because the more you know the Bible's teachings, the better off you will be. John 8:32 states, "And you shall know the truth, and the truth shall make you free"-thus, the sub-title of this book, A 31-Day Devotional to Help You Live Free.