The fourth installment in the Relic Master quartet! Galen and Raffi's quest has brought them to the Pits of Maar. There, below the surface of the world, in the deepest darkness, a most evil thing is waiting for them to come. Watch a Video

"This work has two aims : to represent and exhibit the better Literature of History in the English language, and to give it an organized body--a system--adapted to the greatest convenience in any use, whether for reference, or for reading, for teacher, student, or casual inquirer."--V. 1, Preface.

Reprint of the original, first published in 1882.

This new investigation of the Brandenburg Concertos explores musical, social, and religious implications of Bach's treatment of eighteenth-century musical hierarchies. By reference to contemporary music theory, to alternate notions of the meaning of "concerto," and to various eighteenth-century conventions of form and instrumentation, the book argues that the Brandenburg Concertos are better understood not as an arbitrary collection of unrelated examples of "pure" instrumental music, but rather as a carefully compiled and meaningfully organized set. It shows how Bach's concertos challenge (as opposed to reflect) existing musical and social hierarchies. Careful consideration of Lutheran theology and Bach's documented understanding of it reveals, however, that his music should not be understood to call for progressive political action. One important message of Lutheranism, and, in this interpretation, of Bach's concertos, is that in the next world, the heavenly one, the hierarchies of the present world will no longer be necessary. Bach's music more likely instructs its listeners how to think about and spiritually cope with contemporary hierarchies than how to act upon them. In this sense, contrary to currently accepted views, Bach's concertos share with his extensive output of vocal music for the Lutheran liturgy an essentially religious character.

The margravial court astronomer Simon Marius, was involved in all of the new observations made with the recently invented telescope in the early part of the seventeenth century. He also discovered the Moons of Jupiter in January 1610, but lost the priority dispute with Galileo Galilei, because he missed to publish his findings in a timely manner. The history of astronomy neglected Marius for a long time, finding only the apologists for the Copernican system worthy of attention. In contrast the papers presented on the occasion of the Simon Marius Anniversary Conference 2014, and collected in this volume, demonstrate that it is just this struggle to find the correct astronomical system that makes him particularly interesting. His research into comets, sunspots, the Moons of Jupiter and the phases of Venus led him to abandon the Ptolemaic system and adopt the Tychonic one. He could not take the final step to heliocentricity but his rejection was based on empirical arguments of his time. This volume presents a translation of the main work of Marius and shows the current state of historical research on Marius.

Although it lies far back, running roughly from about 1600 to 1750, the Baroque period is far from forgotten and Baroque music is played widely today as well, exercising numerous musicians and attracting rather substantial audiences. It experienced the emergence of a new sort of music, increasingly secular and increasingly good listening, if you will, and also the start of opera. Some of the Baroque composers appear among the most popular of all time, such as Bach, Handel and Vivaldi. So yes, this is a book for researchers, but it is also a good book for anyone who enjoys this music. The Historical Dictionary of Baroque Music certainly fills a significant space in the whole sub-series on music, since it tells us much more not only about the music but also the age that generated it. This is done particularly well in an insightful introduction, with the flow of events traced by the chronology. The dictionary section fills in the missing details with over 400 entries on the most important composers and musicians, some of the musical works themselves, important places and institutions, and a smattering of technical terms. The bibliography directs us to further reading.

This unique and meticulously edited collection of Edward Bulwer-Lytton's greatest works includes: Novels & Novellas:_x000D_ The Last Days of Pompeii_x000D_ The Pilgrims of the Rhine_x000D_ Rienzi, the last of the Roman tribunes_x000D_ Falkland_x000D_ Pelham_x000D_ The Disowned_x000D_ Devereux_x000D_ Paul Clifford_x000D_ Eugene Aram_x000D_ Godolphin_x000D_ Asmodeus at Large_x000D_ Ernest Maltravers_x000D_ Alice, or The Mysteries (A sequel to Ernest Maltravers)_x000D_ Calderon, the Courtier_x000D_ Leila, or The Siege of Granada_x000D_ Zicci: A Tale (A prequel to Zanoni)_x000D_ Zanoni_x000D_ Night and Morning_x000D_ The Last of the Barons_x000D_ Lucretia_x000D_ Harold, the Last of the Saxons_x000D_ The Caxtons: A Family Picture_x000D_ A Strange Story_x000D_ My Novel, or Varieties in English Life_x000D_ The Haunted and the Haunters, or The House and the Brain_x000D_ What Will He Do With It?_x000D_ The Coming Race, or Vril: The Power of the Coming Race_x000D_ Kenelm Chillingly_x000D_ The Parisians_x000D_ Pausanias, the Spartan _x000D_ Short Stories:_x000D_ The Incantation_x000D_ The Brothers_x000D_ Poetry:_x000D_ The New Timon_x000D_ Constance_x000D_ Milton_x000D_ Eva_x000D_ The Fairy Bride_x000D_ The Beacon_x000D_ The Lay of the Minstrel's Heart_x000D_ Narrative Lyrics; or, The Parcæ_x000D_ King Arthur_x000D_ Corn-Flowers I_x000D_ Corn-Flowers II_x000D_ Earlier Poems_x000D_ The Land of Promise: A Fable_x000D_ Play:_x000D_ The Lady of Lyons, or Love and Pride_x000D_ Historical Works:_x000D_ Athens: Its Rise and Fall_x000D_ _x000D_ _x000D_ _x000D_