These are big questions, and in The Drawing of the Mark of Cain they are addressed head-on. The author has devoted his entire career as a distinguished social historian to resolving these and similar problems. He has sought his answers through a highly original, consistently analytical process of historical conjecture and refutation. --

The Mark of Cain fleshes out a history of conversations that contributed to Germany's coming to terms with a guilty past. Katharina von Kellenbach draws on letters exchanged between clergy and Nazi perpetrators, written notes of prison chaplains, memoirs, sermons, and prison publications to illuminate the moral and spiritual struggles of perpetrators after World War II. These documents provide intimate insights into the self-reflection and self-perception of perpetrators. As Germany looks back on more than sixty years of passionate debate about political, personal and legal guilt, its ongoing engagement with the legacy of perpetration has transformed German culture and politics. The willingness to forgive and forget displayed by the father in the parable of the Prodigal Son became the paradigm central to Germany's rehabilitation and reintegration of Nazi perpetrators. The problem with Luke's parable in this context is that, unlike the son in the parable, perpetrators did not ask for forgiveness. Most agents of state crimes felt innocent. Von Kellenbach proposes the story of the mark of Cain as a counter narrative. In contrast to the Prodigal Son, who is quickly forgiven and welcomed back into the house of the father, the fratricidal Cain is charged to rebuild his life on the basis of open communication about the past. The story of the Prodigal Son equates forgiveness with forgetting; Cain's story links redemption with remembrance and suggests a strategy of critical engagement with perpetrators.

Delve deeper into the dark fantasy world of the Diablo universe as Deckard Cain shares history and lore in this fictional illustrated journal. In Blizzard Entertainment’s Diablo® and Diablo II, the recurring character of Deckard Cain delivered quests, accompanied the brave adventurer, and, as the last of the Horadrim, provided a link to the greater history of the world of Sanctuary. Ever mysterious during these appearances, Cain hinted at a larger story, providing snippets of it in his notebook. Diablo III: Book of Cain is Cain’s formal record of this greater tale—a dissertation on the lore of the Diablo universe, told by one who has witnessed and participated in some of the epic events that make up the eternal conflict between the High Heavens and the Burning Hells. Designed as an “in-world” artifact from the Diablo universe, Diablo III: Book of Cain includes Cain’s revealing meditations, as well as dozens of sketches and color artworks depicting the angelic and demonic beings who wage constant war with one another.

For few verses in the Bible is the relationship between scripture and the artistic imagination more intriguing than for the conclusion of Genesis 4:15: "And the Lord set a mark upon Cain, that whosoever found him should not kill him." What was the mark of Cain? The answers set before us in this sensitive study by art historian Ruth Mellinkoff are sometimes poignant, frequently surprising. An early summary of rabbinic answers, for examples runs as follows: R. Judah said: "He caused the orb of the sun to shine on his account." Said R. Nehemiah to him: "For that wretch He would cause the orb of the sun to shine! Rather, he caused leprosy to break out on him...." Rab said: "He gave him a dog." Abba Jose said: "He made a horn grow out of him." Rab said: "He made him an example to murderers." R. Hanin said: "He made him an example to penitents." R. Levi said in the name of R. Simeon b. Lakish: "He suspended judgment until the flood came and swept him away." After a review of such early Jewish and Christian exegesis, Mellinkoff divides physical interpretations on the mark into three groups: "A Mark on Cain's Body," "A Movement of Cain's Body," and "A Blemish Associated with Cain's Body." Her discussion of these groups is the heart of her study and offers its richest examples of interplay among medieval art and imaginative literature, on the one hand, and biblical exegesis, on the other. Thus in one remarkable tour de force, she shows us how a poetic misprision of Genesis 4:24 - "Sevenfold vengeance will be taken for Cain: but for Lamech seventy times sevenfold" - made Lamech the murderer of Cain; how there then grew up the legend that Lamech, a hunter, had killed Cain when he mistook him for an animal; how from that, the notion that the mark of Cain was a horn or horns on Cain's head arose (in the poignant formulation of the Tanhuma Midrash: "Oh father, you have killed something that resembles a man except it has a horn on its forehead!"); and how from that, in the maturity of the legend, there flowered Cornish drama, Irish saga, and stunning reliefs of a dying, antlered Cain in the cathedrals of Vezelay and Autun. Like Genesis 4:15 itself, 'The Mark of Cain' is suggestive rather than comprehensive. Concluding chapters on "Intentionally Distorted Interpretations of Cain's Mark" and "Cain's Mark and the Jews" bring the history down to our own day, but Mellinkoff does not claim to have said the last word on the subject. Her achievement is neither documentary nor exegetical but rather demonstrative: she shows us with brilliant economy how the artistic imagination functioned in a world whose intellectual definition was a closed canonical text.

The Mark of Cain fleshes out a history of conversations that contributed to Germany's coming to terms with a guilty past. Katharina von Kellenbach draws on letters exchanged between clergy and Nazi perpetrators, written notes of prison chaplains, memoirs, sermons, and prison publications to illuminate the moral and spiritual struggles of perpetrators after World War II. These documents provide intimate insights into the self-reflection and self-perception of perpetrators. As Germany looks back on more than sixty years of passionate debate about political, personal and legal guilt, its ongoing engagement with the legacy of perpetration has transformed German culture and politics. The willingness to forgive and forget displayed by the father in the parable of the Prodigal Son became the paradigm central to Germany's rehabilitation and reintegration of Nazi perpetrators. The problem with Luke's parable in this context is that, unlike the son in the parable, perpetrators did not ask for forgiveness. Most agents of state crimes felt innocent. Von Kellenbach proposes the story of the mark of Cain as a counter narrative. In contrast to the Prodigal Son, who is quickly forgiven and welcomed back into the house of the father, the fratricidal Cain is charged to rebuild his life on the basis of open communication about the past. The story of the Prodigal Son equates forgiveness with forgetting; Cain's story links redemption with remembrance and suggests a strategy of critical engagement with perpetrators.

A mystery is solved by folklore and esoteric knowledge of tattooing.

List of Illustrations xiii The Life I The Style 19 Contents The Drawings 40 Appraisal and Evaluation 64 Bibliography 79 Notes 82 Index 90 Illustrations vii The French seventeenth century remains at the present moment one of the few areas in the history of later western art which still needs intensive study. Even the work of Pous sin, its most outstanding painter and the object of a continu ous stream of encomiums stretching back to his own life time, has only recently begun to be explored with the full scholarly apparatus of contemporary art history, and a definitive monograph is probably still some years in the future. La Tour and the Le Nain brothers have been intro duced into the company of great artists only within the past Foreword quarter century, and with significant discoyeries still being made complete evaluations are as yet not even to be contem plated. After numerous casual encounters with the frequent ly handsome if astonishingly varied canvases of Bourdon, one becomes suspicious of the ever repeated dismissal of his work as merely eclectic and longs for a revealing analysis of his purposes and patronage. The harsh Latinity of Valentin, the sumptuous strangeness ofVignon, the audacious languor of Antoine Coypel, these are some of the many topics that still await careful investigation and evaluation.

In this comprehensive catalogue of the work of the 15th-century painter and draftsman, Stefano da Verona (1375-ca. 1438), Karet reviews past scholarship and corrects old misunderstandings that produced an inconsistent, heterogeneous and misinformed corpus. Her attributions are based on stylistic arguments, technical analysis, and the relationship of the drawings to a limited number of secure paintings by this important Late Gothic North Italian painter. The restricted but sound body of works Stefano da Verona executed is compiled in rich catalogue entries that include discussions of style, iconography, patronage, paper and sketchbook analysis, important issues of workshop production and of the history of drawings and collectionism.

A primer for design professionals across all disciplines that helps them create compelling and original concept designs by hand--as opposed to on the computer--in order to foster collaboration and win clients. In today's design world, technology for expressing ideas is pervasive; CAD models and renderings created with computer software provide an easy option for creating highly rendered pieces. However, the accessibility of this technology means that fewer designers know how to draw by hand, express their ideas spontaneously, and brainstorm effectively.In a unique board binding that mimics a sketchbook, Drawing Ideas provides a complete foundation in the techniques and methods for effectively communicating to an audience through clear and persuasive drawings.