This book is about a remarkable man, Giovanni Maria de Agostini, born in Italy in 1801, who combined two seemingly contradictory aspirations: a fervent desire to devote his whole life to "perfect solitude" and an astonishing urge to travel incessantly. As his decisions and actions emerge from the lightless silence - the time-covered past - a unifying purpose becomes evident. Following extensive travel in Europe, Agostini takes vows revocable only by formal dispensation from the Pope. He immediately leaves forever his "beloved Italy" for South America. Twenty-one years he spends traversing that, at the time, greatly unexplored continent, visiting Venezuela, Colombia, Ecuador, Bolivia, Peru, Brazil, Argentina, Paraguay, and Chile - and so doing multiple times. During this spectacular solo Odyssey, he survives a trip down the Amazon River by canoe, crosses the Alps by foot several times, walks vast distances, and endures living alone in scalding deserts and subzero mountains. In spite of oppressive and infuriating obstacles, including death threats, unjust arrest, deportation, jail, and forced confinement in a mental asylum, Agostini persists undeterred in the solemn goal he set for himself when he left Europe. Seeking change and another continent, Agostini leaves South America for Mexico, passing through Panama and Guatemala, and then Mexico for North America, passing through Cuba. In Cuba, he is hailed as an extraordinary adventurer, his photograph is taken, and he is proclaimed "The Wonder of Our Century." After arrival in New York, he walks to Canada, where he spends almost a year, then "goes west," eventually reaching, in the midst of the American Civil War, the Territory of New Mexico, where he meets his merciless fate. Agostini is remembered in many places -- in South America as Monge Joao Maria, in North America as Ermitano Don Juan Agostini; however his life story is encrusted with myth and false fact. As the veritable events of his life are unveiled, a man of fascinating originality, prodigious endurance, intelligence, self-discipline, and self-sufficiency, infused with an indomitable spirit of adventure, emerges. Today in Argentina, as many as 15,000 people participate in a yearly festival initiated by Agostini at Cerro Monje, "Monk's Hill." In Brazil, at Cerro Campestre, "Campestre Hill," and Santo Cerro do Botucarai, "Holy Hill of Botucarai," over 10,000 people celebrate annual events founded by Agostini. In Lapa, Brazil, a national park protects the pilgrimage route to Gruta do Monge, "Monk's Grotto." At Aracoiaba Hill, near Sorocaba, Brazil, the Trilha da Pedra Santa, "Trail of the Holy Rock," is climbed annually by thousands of people desiring to pay respect to the memory of the Monge do Ipanema, the "Monk of Ipanema." These are just a few examples of Agostini's cultural legacy, 145 years after his death. 20 maps and 65 photos, including 2 rare photos of Agostini, one taken in 1857 and one taken in 1861.

"Quien es?" The answer to this incautious question - "Who is it?" - was a bullet to the heart. That bullet -- fired by Lincoln County Sheriff Patrick F. Garrett from a .40-44 caliber single action Colt pistol -- ended the life of Billy the Kid, real name William Henry McCarty. But death - ordinarily so final - only fueled the public's fascination with Billy the Kid. What events led to Billy's killing? Was it inevitable? Was a woman involved? If so, who was she? Why has Billy's gravestone become the most famous - and most visited - Western death marker? Is Billy really buried in his grave? Is the grave in the right location? Is it true that Pat Garrett's first wife is buried in the same cemetery? Is Billy's girlfriend buried there also? The Fort Sumner cemetery where Billy's grave is located was once plowed for cultivation. Why? What town, seeking a profitable tourist attraction, tried to move Billy's body, using a phony relative to justify the action? These questions -- and many others - are answered in this book. Over 60 photos, including many historical photos never previously published.

This book is about Billy the Kid's trial for murder, and the events leading to that trial. The result of Billy's trial sealed his fate. And yet Billy's trial is the least written about, and until this book, the least known event of Billy's adult life. Prior biographies have provided extensive - and fascinating - details on Billy's life, but they supply only a few paragraphs on Billy's trial. Just the bare facts: time, place, names, result. Billy's trial the most important event in Billy's life. You may respond that his death is more important - it is in anyone's life! That is true, in an existential sense, but the events that lead to one's death at a particular place and time, the cause of one's death, override the importance of one's actual death. Those events are determinative. Without those events, one does not die then and there. If Billy had escaped death on July 14, 1881, and went on to live out more of his life, that escape and not his trial would probably be the most important event of Billy's life. The information presented here has been unknown until now. This book makes it possible to answer these previously unanswerable questions: Where was Billy captured? Where was Billy tried? What were the governing Territorial laws? What were the charges against Billy? Was there a trial transcript and what happened to it? What kind of defense did Billy present? Did Billy testify in his own defense? Did Billy have witnesses standing for him? Who testified against him for the prosecution? What was the jury like? What action by the trial judge virtually guaranteed his conviction? What legal grounds did he have to appeal his verdict? Was the trial fair? Supplementing the text are 132 photos, including many photos never published before.

In this volume, Rebekah Compton offers the first survey of Venus in the art, culture, and governance of Florence from 1300 to 1600. Organized chronologically, each of the six chapters investigates one of the goddess's alluring attributes – her golden splendor, rosy-hued complexion, enchanting fashions, green gardens, erotic anatomy, and gifts from the sea. By examining these attributes in the context of the visual arts, Compton uncovers an array of materials and techniques employed by artists, patrons, rulers, and lovers to manifest Venusian virtues. Her book explores technical art history in the context of love's protean iconography, showing how different discourses and disciplines can interact in the creation and reception of art. Venus and the Arts of Love in Renaissance Florence offers new insights on sight, seduction, and desire, as well as concepts of gender, sexuality, and viewership from both male and female perspectives in the early modern era.

This book presents the first full length study in English of monumental bronzes in the Middle Ages. Taking as its point of departure the common medieval reception of bronze sculpture as living or animated, the study closely analyzes the practice of lost wax casting (cire perdue) in western Europe and explores the cultural responses to large scale bronzes in the Middle Ages. Starting with mining, smelting, and the production of alloys, and ending with automata, water clocks and fountains, the book uncovers networks of meaning around which bronze sculptures were produced and consumed. The book is a path-breaking contribution to the study of metalwork in the Middle Ages and to the re-evaluation of medieval art more broadly, presenting an understudied body of work to reconsider what the materials and techniques embodied in public monuments meant to the medieval spectator.

Musical notation has not always existed: in the West, musical traditions have often depended on transmission from mouth to ear, and ear to mouth. Although the Ancient Greeks had a form of musical notation, it was not passed on to the medieval Latin West. This comprehensive study investigates the breadth of use of musical notation in Carolingian Europe, including many examples previously unknown in studies of notation, to deliver a crucial foundational model for the understanding of later Western notations. An overview of the study of neumatic notations from the French monastic scholar Dom Jean Mabillon (1632–1707) up to the present day precedes an examination of the function and potential of writing in support of a musical practice which continued to depend on trained memory. Later chapters examine passages of notation to reveal those ways in which scripts were shaped by contemporary rationalizations of musical sound. Finally, the new scripts are situated in the cultural and social contexts in which they emerged.

A comprehensive re-assessment of Raphael's artistic achievement and the ways in which it transformed the idea of what art is.

In Ancient Marbles in Naples in the Eighteenth Century Eloisa Dodero aims at documenting the history of numerous private collections formed in Naples during the 18th century, with particular concern for the “Neapolitan marbles” and the circumstances of their dispersal. Research has thus made it possible to formulate a synthesis of the collecting dynamics of Naples in the 18th century, to define the interest of the great European collectors, especially British, in the antiquities of the city and its territory and to draw up a catalogue which for the first time brings together the nucleus of sculptures reported in the Neapolitan collections or coming from irregular excavations, most of which shared the destiny of dispersal, in some cases here traced in definitive fashion.

A unique and forward-thinking book that sheds new light on the origins, dynamics, and cosmopolitan culture of the Kongo Kingdom from a cross-disciplinary perspective.

Following his ordination as a Franciscan priest in 1937, Chvez performed the difficult duties of an isolated back-country pastor, an army chaplain in World War II, and became an author of note, as well as something of an artist and muralist. Upon all of his endeavors, one finds the imprint of his religious perspective.