Widely admired for his paintings of exquisitely beautiful Madonnas, Florentine Renaissance friar-artist Fra Filippo Lippi (c. 1406-69) gained renown also for his love affair with the nun Lucrezia who bore their son, Filippino Lippi, later a well-known painter himself. In this beautiful and compelling book, Megan Holmes shines new light on Lippi's life and career, from the first paintings he created while a friar in Santa Maria del Carmine to the later works he painted when living outside the monastery for the Medici family, their supporters, and other patrons. Focusing especially on the fascinating conjunction of Lippi's work as a painter and his experiences as a Carmelite friar, Holmes transforms our understanding of Filippo Lippi and of the way art was produced and viewed in fifteenth-century Florence. Unlike most monastic artists, Fra Filippo learned to paint only after joining a religious order. In the first section of the book, the author considers how the doctrines, rules, rituals, and practices of the Carmelites shaped Lippi's art and manner of envisioning sacred subjects. In the second section, Holmes discusses Lippi's life and painting after he left the monastery, demonstrating how his mature work broke new ground but continued to draw upon Carmelite influences. The final section of the book looks closely at three altarpieces Fra Filippo painted for monastic institutions and sets them in a broader social and religious context.

Includes reports, etc., of the Southwest Society of the Archaeological Institutes of America.

How do societies negotiate the apparently competing agendas of environmental protection and social justice? Why do some countries perform much better than others on this front? Democracy in the Woods addresses these question by examining land rights conflicts-and the fate of forest-dependent peasants-in the context of the different forest property regimes in India, Tanzania, and Mexico. These three countries are prominent in the scholarship and policy debates about national forest policies and land conflicts associated with international support for nature conservation. This unique comparative study of national forestland regimes challenges the received wisdom that redistributive policies necessarily undermine the goals of environmental protection. It shows instead that the form that national environmental protection efforts take - either inclusive (as in Mexico) or exclusive (as in Tanzania and, for the most part, in India) - depends on whether dominant political parties are compelled to create structures of political intermediation that channel peasant demands for forest and land rights into the policy process. This book offers three different tests of this theory of political origins of forestland regimes. First, it explains why it took the Indian political elites nearly sixty years to introduce meaningful reforms of the colonial-era forestland regimes. Second, it successfully explains the rather counterintuitive local outcomes of the programs for formalization of land rights in India, Tanzania, and Mexico. Third, it provides a coherent explanation of why each of these three countries proposes a significantly different distribution of the benefits of forest-based climate change mitigation programs being developed under the auspices of the United Nations. In its political analysis of the control over and the use of nature, this book opens up new avenues for reflecting on how legacies of the past and international interventions interject into domestic political processes to produce specific configurations of environmental protection and social justice. Democracy in the Woods offers a theoretically rigorous argument about why and in what specific ways politics determine the prospects of a socially just and environmentally secure world. *Included in the Studies in Comparative Energy and Environmental Politics Series

The debut novel from PEN/Faulkner award-winning author of Call Me Zebra and Savage Tongues is a comic psychological thriller, an absurdist journey into the heart of darkness. A man purchases a house, the house of Fra Keeler, moves in, and begins investigating the circumstances of the latter's death. Yet the investigation quickly turns inward, and the reality it seeks to unravel seems only to grow stranger, as the narrator pursues not leads but lines of thought, most often to hideous conclusions.