The one-haired hero from Yummy Yucky and Potty returns in an exuberant holiday tale that finds him helping with tree decorations, constructing a gingerbread house and dressing up his doggy before joining in carol singing and waiting for Santa's arrival.

The adventures of John Dough, the human-sized gingerbread man brought to life by an Arab elixir, and Chick, the world's first incubator baby, as they travel from the Island of Phreex to the kingdom of Hilo.

Hired to assist best-selling horror novelist Seth Wyatt, Pippa Cochran uses her supernatural powers to help his emotionally troubled son, until a series of dangerous accidents tears them apart.

Tells the story of three rebellious teenagers sentenced to the Bleda Reformatorary in South Africa, and the vengeance incited following the murder of one of them.

Lavish assortment of angelic creatures ? selected from such vintage publications as Punch, St. Nicholas, and LaVie Parisienne ? are seen riding bicycles, making music, aiming arrows, and engaged in other lighthearted pursuits. 363 black-and-white, royalty-free images will enhance any printed message with angelic or amorous themes.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.