In a race against time, the Alliance of Man must locate the cradle of its birth, the Garden of Eden, or perish. Hunted by the Covenant of Nine, dark seraphim who seek to dominate and destroy mankind. Aided and guided by the Valerian, an Amazonian race of warriors whose loyalties are a mystery. Watched by the Silver Host, light seraphim who may have good intentions but seem limited in their ability to act. In an act of desperation, a small elite group is formed with the mandate to break in to Eden. Included in this venture are the Arch Wizards of the four elemental schools of magic and the Assassins Guild. Within its gates they seek an artifact that could save them from their fate. But Eden is a warren filled with hidden traps and supernatural creatures both terrible and powerful. Meanwhile, on another plane, the Silver Host seek to aid mankind by finishing a war that has seemed unending. Seeking to tip the balance of power on the material plane with their actions in the celestial realm.

Conceived as a contribution to the continuous construction of the identity of the Codex Mendoza, the present volume is organized around three axes: material analysis, textual and stylistic interpretation, and reception and circulation studies. The works of Barker-Benfield and MOLAB further our objective of understanding the manuscript's materiality. The re-binding and conservation process registered by Barker-Benfield has allowed us to do away with speculation regarding the method of production used to create the manuscript and its previous bindings. This, in turn, has allowed heretofore accepted connections, such as the authorship of Francisco Gualpuyogualcal, to be reexamined. Similarly, the analysis undertaken by the MOLAB team and headed by Davide Domenici has settled the debate on the nature of the pigments used in the production of the manuscript. This has added additional layers of nuance to previously held interpretative hypotheses on the meaning of specific pigments and the strictness of their application in the tlacuilolli. While color holds meaning for the tlacuilo, color is not inexorably linked to its materiality. These observations have the potential to inspire a new generation of interpretative studies, based on ever more accurate data regarding the material nature of the Codex Mendoza. Interpretative studies of the manuscript in this volume represent a line of inquiry that, by considering the manuscript from the complex perspectives of the work of art, literature, and bibliography, complement previous anthropological and historical readings of the Codex Mendoza. My essays as well as those by Diana Magaloni and Daniela Bleichmar reconsider the number and style of the artists who produced the manuscript in order to understand both the process by which it was created as well as the place it occupies in the artistic context of the early viceroyalty. Far from entering a binary relation between subjugator and subjugated, the decisions made by these artists and intellectuals manifest the forms of thinking and seeing time and space in the Mesoamerican world. I demonstrate that the pictures in the Codex Mendoza were painted in a workshop in which one, two, or more individuals collaborated on each page to create a single composition; as such, the creation of these pictures took on an air of rituality and functioned as "an instrument to recreate, reactualize, and make coherent the historical becoming linked to territory with cosmic patterns" (Magaloni, this volume). This last observation complements and reinforces Joanne Harwood's proposed reading of the third section of the manuscript. For Harwood, notwithstanding the originality of the visual solutions used to compose this section of the manuscript, the Codex Mendoza's pre-Columbian model resonates with a Mesoamerican religious genre: the teoamoxtli.

Provides information on every important theory and interpretation and every recognized deck, illustrating and commenting on the symbolism of the early Tarocchi decks and the major later decks.

An Ancient Wisdom Text Revealed . . . Both an ancient, "found" wisdom text and a sumptuous, epic novel, Gaia Codex reveals the hidden histories of a world long forgotten, the secret wisdom of an ancient lineage of women, the Priestesses of Astera. Set in a near future of impending societal and environmental collapse, the novel is a tale of hope and remembrance, as well as an inspired vision of humanity's origins and of the potential we hold for conscious evolution.

Describes authors, works, and literary terms from all eras and all parts of the world.

In this new edition of their classic work on Cellular Solids, the authors have brought the book completely up to date, including new work on processing of metallic and ceramic foams and on the mechanical, electrical and acoustic properties of cellular solids. Data for commercially available foams are presented on material property charts; two new case studies show how the charts are used for selection of foams in engineering design. Over 150 references appearing in the literature since the publication of the first edition are cited. The text summarises current understanding of the structure and mechanical behaviour of cellular materials, and the ways in which they can be exploited in engineering design. Cellular solids include engineering honeycombs and foams (which can now be made from polymers, metals, ceramics and composites) as well as natural materials, such as wood, cork and cancellous bone.