Touch is our first sense. Through touch we make art, stake a claim to what we own and those we love, express our faith, our belief, our anger. Touch is how we leave our mark and find our place in the world; touch is how we connect. Drawing on works of art spanning four thousand years and from across the globe, this book explores the fundamental role of touch in human experience, and offers new ways of looking. In a series of lavishly illustrated essays, the authors explore anatomy and skin; the relationship between the brain, hand, and creativity; touch, desire and possession; ideological touch; reverence and iconoclasm. A final section collects a range of reflections, historic and contemporary, on touch. Objects range from anonymous ancient Egyptian limestone sculpture, to medieval manuscripts and panel paintings, to devotional and spiritual objects from across the world, to love tokens and fede rings. Drawings, paintings, prints and sculpture by Raphael, Michelangelo, Rembrandt, Carracci, Hogarth, Turner, Rodin, Degas, and Kollwitz are explored, along with work by contemporary artists Judy Chicago, Frank Auerbach, Richard Long, the Chapman Brothers, and Richard Rawlins. The events of 2020 have made us newly alive to the preciousness and the dangers of touch, making this exploration of our most fundamental sense particularly timely and resonant.

This book investigates how people learned to read in the Middle Ages. It uses glosses--medieval teachers' notes--on classical Latin texts to show how these complex works were used in a very basic and literal way in the classroom, and argues that this has profound implications for our understanding of medieval literacy and hermeneutics. Suzanne Reynolds discusses issues including the relationship of Latin and vernacular languages, the role of classical texts in medieval culture, ideas of allegory in the Middle Ages, and medieval literary theory.

This book argues for a radically new approach to the history of reading and literacy in the Middle Ages. It investigates the use of complex literary texts as the basis of elementary instruction in the Latin language and, using medieval teachers' notes (glosses) on a classical text (Horace's Satires) and a selection of other unpublished manuscript materials, it demonstrates that the reading of classical literature was profoundly shaped by the demands of acquiring Latin literacy through the arts of grammar and rhetoric. The resolutely literal readings of Latin texts found in these educational and institutional contexts call for a reassessment of the relationship of Latin and vernacular discourses in medieval culture, and of some central notions in medieval hermeneutics, notably allegory and authorial intention.

In "Interview with the Faerie (Part One)" a reporter is thrilled but anxious to interview the King of the Fae. It has been one hundred years since the last time a human had this honor, and a lot of misinformation has accumulated since then... or has it?

This poetry collection introduces creatures fantastical and human... telling stories of terror and betrayal; hope and inspiration; and the joys to be found simply by looking at the world from a different perspective.

"How many people do you know who have been abused or wounded in childhood, who regret the decisions they have made and who think that God cannot love and save them? Get them or you to read Suzanne Reynolds' book right away. Written in a warm but gutsy style, Born with a Veil, brings you down to the depths of this woman's pain, and up with her to the joy of finding salvation in the Catholic Church. It's sensational and inspirational as well. I highly recommend it." Ronda Chervin, Ph.D - author of numerous books about conversion and Catholic spirituality. ______________________________ "Your powers of description are quite good and the story moves along quickly. It really is an enjoyable narrative, and convincing toward the end. The work is very Catholic and is a good conversion story. It is quite edifying." Fr. Joseph Illo Pastor of St. Joseph's Church Modesto, California _______________________________ "I read your story and was very impressed. It's a miraculous story and it is true Marie Gallo Gallo Wineries Modesto, California All artwork by Suzanne Reynolds... prints are available: www.fineartamerica.com

This new publication constitutes Part Two of the multi-volume Cambridge Illuminations Research Project cataloguing all western illuminated manuscripts in the Fitzwilliam Museum and the Cambridge Colleges. It covers manuscripts produced in Italy and the Iberian Peninsula, ranging from the early Gospels of St Augustine made in sixth-century Rome, through the carefully designed patristic texts from twelfth-century Tuscany and Lombardy, the great law books of thirteenth- and fourteenth-century Bologna, the opulent Books of Hours, elegant Humanistic volumes and enormous Choir Books of the fifteenth century, and finally to the richly decorated and densely ornamented books of sixteenth-century Spain. In addition to the famous treasures, these catalogues include a considerable number of previously unpublished cuttings, among them new attributions to leading artists and exciting discoveries, all of which offer a stimulating source for further research. Every manuscript catalogued is also illustrated, frequently with several images, all reproduced in full colour. Entries for Italian manuscripts are arranged chronologically in the period up to 1200, while manuscripts produced after 1200 are catalogued by region of origin and within that division again by sequence of date. Manuscripts that cannot at present be allocated to a particular region are grouped in a special section, and Spanish books are again catalogued in chronological order.