From monumental church mosaics to fresco wall-paintings, the medieval period produced some of the most impressive art in history. But how, in a world without the array of technology and access to materials that we now have, did artists produce such incredible works, often on an unbelievably large scale? In The Riddle of the Image, research scientist and art restorer Spike Bucklow discovers the actual materials and methods that lie behind the production of historical paintings. Examining the science of the tools and resources, as well as the techniques of medieval artists, Bucklow adds new layers to our understanding and appreciation of paintings in particular and medieval art more generally. He uses case studies—including The Wilton Diptych, one of the most popular paintings in the National Gallery in London and the altarpiece in front of which English monarchs were crowned for centuries—and analyses of these works, presenting previously unpublished technical details that shed new light on the mysteries of medieval artists. The first account to examine this subject in depth for a general audience, The Riddle of the Image is a beautifully illustrated look at the production of medieval paintings.

When a series of rare-book thefts strikes the Bloom’s Bookstore & Coffeehouse in River Heights, Nancy Drew finds her only clue in the handwriting of a dead woman.

Themed around seasons and holidays including Valentine's Day and Halloween, rhyming verses ask readers to find hidden objects in the photographs.

A hidden door. A magical staircase. Discover the world of Droon! There's only one passage between the Upper World and Droon -- the magical rainbow staircase. At least, that's what Eric and his friends have always believed. But now Ko and his beasts are attacking Zorfendorf Castle, a magical fortress that's hiding a huge secret: the Fifth River, another passage to the Upper World. Ko will do anything to get to the river -- and to the Upper World. And Eric, Julie, Neal, and Keeah will do anything to stop him!

This book tells of Eadweard Muybridge's invention of very fast photography and his discovery of how animals and people run.

Rhyming verses ask readers to find hidden objects in the photographs.

A distinctive feature of mystical experience is that it is "imageless". Mystics of various traditions witness indeed to their going beyond all intermediaries so as to enjoy immediate union. Understandably, the idea of imageless immediacy is attractive, and it is especially in vogue with those who hope to discover that different (religious) spiritualities converge if only the particularity of, say, the Christian way would be left behind. However, a crucial question arises here. If mystical union consists in simply transcending what is part and parcel of the human condition, where is its relevance? Is the mystic as such in a position to be his or her human self - thinking and loving, enjoying and suffering? Can he or she be active in the world of humankind? Obviously, it is especially in the Christian tradition that this matter comes to the fore as a radical difficulty. For here there is the divine Image and Mediator, so much so that the Humanity of Jesus ought to be integral to a person's union with God. Perhaps the Christian mystic is such an extraordinary figure that the Humanity and all other images and intermediaries are, for him or her, at best a stepping-stone that is bound to disappear? The Riddle of Christian Mystical Experience aims to clarify this issue by analyzing the writings of such visionaries as Julian of Norwich, Teresa of Avila and Maria Petyt; of the ecstasy-minded masters Richard of Saint Victor, Bernard of Clairvaux and Bonaventure (describing Francis of Assisi's experience); of the cream of the Flemish mystics, namely Hadewijch and Jan van Ruusbroec. Nevertheless, the preference for the mystical text does not prevent the Riddle from drawing on the insights of modern philosophers such as Jean-Paul Sartre and Jean-Luc Marion when treating of images and idols, or Michael Polanyi and Ludwig Wittgenstein when reflecting on intermediaries. The main result of this procedure may come as a surprise. Far from turning into a detached creature who forgets about the Humanity and the human, the full-fledged mystic is, as a Flemish mystic puts it, "wholly in God, where he rests in enjoyment, and wholly in himself, where he loves with works". Experiencing union "with intermediary and without intermediary", the true Christian mystic is "unimaged" as well as "imaged upon the humanity of our Lord through heartfelt affection".

The Riddle in the Poem is a study of the ramifications of riddles and riddle elements in the context of selected twentieth-century poetry. It includes works by Francis Ponge, Wallace Stevens, Richard Wilbur, Rainer M. Rilke, and Henrikas Radauskas. This book enlarges the scope of riddles as a "root of lyric" by connecting it with the folkloristic concept of "riddling," essentially a question and answer series, and by tracing the influence of the root in poetic methodology. The Riddle in the Poem may be defined as an attempt to advance the notion, which has been discussed in previous folkloristic and literary studies, which riddle as the root of lyric manifests itself in various ways.

First Published in 2005. The true folk riddle of oral traditions that have been rapidly disappearing from the face of the earth in the last hundred years is one of the most ancient threads of culture. One of the smallest genres of verbal culture—usually under a dozen of words, it is an intensely articulated utterance. It is eccentric and as such breaks every logical mould. This volume presents results of a study driven by the sheer intellectual curiosity of the author.