From one of Britain’s most respected and acclaimed art historians, art critic of The Guardian—the galvanizing story of a sixteenth-century clash of titans, the two greatest minds of the Renaissance, working side by side in the same room in a fierce competition: the master Leonardo da Vinci, commissioned by the Florentine Republic to paint a narrative fresco depicting a famous military victory on a wall of the newly built Great Council Hall in the Palazzo Vecchio, and his implacable young rival, the thirty-year-old Michelangelo. We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic. And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart. In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision. Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael. A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.

From the author's introduction: Ancient battles seize the modern imagination. Far from being forgotten, they have become a significant aspect of popular culture, prompting a continuing stream of books, feature films, television programs and board and computer games... there is a certain escapist satisfaction in looking back to an era when conflicts between entire states turned on clear-cut pitched battles between formed armies, lasting just a few hours and spanning just a few miles of ground. These battles were still unspeakably traumatic and grisly affairs for those involved - at Cannae, Hannibal's men butchered around two and a half times as many Romans (out of a much smaller overall population) as there were British soldiers killed on the notorious first day of the Somme. However, as with the great clashes of the Napoleonic era, time has dulled our preoccupation with such awful human consequences, and we tend to focus instead on the inspired generalship of commanders like Alexander and Caesar and on the intriguing tactical interactions of units such as massed pikemen and war elephants within the very different military context of pre-gunpowder warfare. Lost Battles takes a new and innovative approach to the battles of antiquity. Using his experience with conflict simulation, Philip Sabin draws together ancient evidence and modern scholarship to construct a generic, grand tactical model of the battles as a whole. This model unites a mathematical framework, to capture the movement and combat of the opposing armies, with human decisions to shape the tactics of the antagonists. Sabin then develops detailed scenarios for 36 individual battles such as Marathon and Cannae, and uses the comparative structure offered by the generic model to help cast light on which particular interpretations of the ancient sources on issues such as army size fit in best with the general patterns observed elsewhere. Readers can use the model to experiment for themselves by re-fighting engagements of their choice, tweaking the scenarios to accord with their own judgment of the evidence, trying out different tactics from those used historically, and seeing how the battle then plays out. Lost Battles thus offers a unique dynamic insight into ancient warfare, combining academic rigor with the interest and accessibility of simulation gaming. This book includes access to a downloadable computer simulation where the reader can view the author's simulations as well create their own.

Three generations of Granny Vaughn's descendants gather at her Mississippi home to celebrate her 90th birthday. Possessed of the true storyteller's gift, the members of this clan cannot resist the temptation to swap tales.

The early Christian Church was a chaos of contending beliefs. In Lost Christianities, Bart D. Ehrman offers a fascinating look at these early forms of Christianity and shows how they came to be suppressed, reformed, or forgotten. All of these groups insisted that they upheld the teachings of Jesus and his apostles, and they all possessed writings that bore out their claims, books reputedly produced by Jesus' own followers. Scrupulously researched and lucidly written, Lost Christianities is an eye-opening account of politics, power, and the clash of ideas among Christians in the decades before one group came to see its views prevail.

Empires have fallen, and the land is broken. The great oathmarks that once stood as testaments to the allegiances and might of nations have crumbled into ruin. In this lost age, fealty and loyalty are as valuable as gold and as deadly as cold iron, and war is ever-present. Created by Joseph A. McCullough, designer of Frostgrave and Frostgrave: Ghost Archipelago, Oathmark is a mass-battle fantasy wargame that puts you in command of the fantasy army you've always wanted, whether a company of stalwart dwarves or a mixed force with proud elves, noble men, and wild goblins standing shoulder-to-shoulder in the battle-line. Fight through an integrated campaign system and develop your realms from battle to battle, adding new territories, recruiting new troop types, and growing to eclipse your rivals... or lose what you fought so hard to gain and fall as so many would-be emperors before you.

History has tended to measure war's winners and losers in terms of its major engagements, battles in which the result was so clear-cut that they could be considered "decisive." Cannae, Konigsberg, Austerlitz, Midway, Agincourt-all resonate in the literature of war and in our imaginations as tide-turning. But these legendary battles may or may not have determined the final outcome of the wars in which they were fought. Nor has the "genius" of the so-called Great Captains - from Alexander the Great to Frederick the Great and Napoleon - play a major role. Wars are decided in other ways. Cathal J. Nolan's The Allure of Battle systematically and engrossingly examines the great battles, tracing what he calls "short-war thinking," the hope that victory might be swift and wars brief. As he proves persuasively, however, such has almost never been the case. Even the major engagements have mainly contributed to victory or defeat by accelerating the erosion of the other side's defences. Massive conflicts, the so-called "people's wars," beginning with Napoleon and continuing until 1945, have consisted of and been determined by prolonged stalemate and attrition, industrial wars in which the determining factor has been not military but matériel. Nolan's masterful book places battles squarely and mercilessly within the context of the wider conflict in which they took place. In the process it help corrects a distorted view of battle's role in war, replacing popular images of the "battles of annihilation" with somber appreciation of the commitments and human sacrifices made throughout centuries of war particularly among the Great Powers. Accessible, provocative, exhaustive, and illuminating, The Allure of Battle will spark fresh debate about the history and conduct of warfare.

A noted World War I scholar examines the critical decisions and events that led to Germany's defeat, arguing that the German loss was caused by collapse at home as well as on the front. Much has been written about the causes for the outbreak of World War I and the ways in which the war was fought, but few historians have tackled the reasons why the Germans, who appeared on the surface to be winning for most of the war, ultimately lost. This book, in contrast, presents an in-depth examination of the complex interplay of factors—social, cultural, military, economic, and diplomatic—that led to Germany's defeat. The highly readable work begins with an examination of the strengths and weaknesses of the two coalitions and points out how the balance of forces was clearly on the side of the Entente in a long and drawn-out war. The work then probes the German plan to win the war quickly and the resulting campaigns of August and September 1914 that culminated in the devastating defeat in the First Battle of the Marne. Subsequent chapters discuss the critical factors and decisions that led to Germany's loss, including the British naval blockade, the role of economic factors in maintaining a consensus for war, and the social impact of material deprivation.

This text by a Pulitzer prize-winning military writer, evaluates 11 crucial battles of World War II. They represent a cross-section, from the Battle of Britain and the airborne invasion of Crete to Okinawa and the D Day landings, combining dramatic immediacy with the wisdom of hindsight.

Michelangelo’s adventure in Constantinople, from the “mesmerizing” (New Yorker) and “masterful” (Washington Post) author of Compass In 1506, Michelangelo—a young but already renowned sculptor—is invited by the sultan of Constantinople to design a bridge over the Golden Horn. The sultan has offered, along with an enormous payment, the promise of immortality, since Leonardo da Vinci’s design was rejected: “You will surpass him in glory if you accept, for you will succeed where he has failed, and you will give the world a monument without equal.” Michelangelo, after some hesitation, flees Rome and an irritated Pope Julius II—whose commission he leaves unfinished—and arrives in Constantinople for this truly epic project. Once there, he explores the beauty and wonder of the Ottoman Empire, sketching and describing his impressions along the way, as he struggles to create what could be his greatest architectural masterwork. Tell Them of Battles, Kings, and Elephants—constructed from real historical fragments—is a thrilling page-turner about why stories are told, why bridges are built, and how seemingly unmatched fragments, seen from the opposite sides of civilization, can mirror one another.

A high-ranking general's gripping insider account of the U.S. wars in Iraq and Afghanistan, and how it all went wrong. Over a thirty-five-year career, Daniel Bolger rose through the army infantry to become a three-star general, commanding in both theaters of the U.S. campaigns in Iraq and Afghanistan. He participated in meetings with top-level military and civilian players, where strategy was made and managed. At the same time, he regularly carried a rifle alongside rank-and-file soldiers in combat actions, unusual for a general. Now, as a witness to all levels of military command, Bolger offers a unique assessment of these wars, from 9/11 to the final withdrawal from the region. Writing with hard-won experience and unflinching honesty, Bolger makes the firm case that in Iraq and in Afghanistan, we lost -- but we didn't have to. Intelligence was garbled. Key decision makers were blinded by spreadsheets or theories. And, at the root of our failure, we never really understood our enemy. Why We Lost is a timely, forceful, and compulsively readable account of these wars from a fresh and authoritative perspective.