Raphael's Legacy presents an evocative appraisal of the false truths we've been sold as a society about chronic conditions such as: Depression, Stress, CFS, ME, Psychological Illness, Fibromyalgia, Hypothyroidism, Toxic Body Syndrome & Lymes Disease. An open and candid collection of thoughts derived from one man's innate ability to do battle and fight for what is our most precious of gifts; the right to life. The result of thirty years of struggle, thirty years of pain, a career, body and sense of wellbeing destroyed simply because our medical industry is institutionally insane. Read how the author explores for you the incompetence, ignorance and prejudices that underpin our medical industry, and then revel in the simplicity of his postulations for the pursuit of well being. A hard hitting, yet comical take on the process of illness that will almost certainly bring a smile to your face and yet paradoxically, may leave you feeling completely flabbergasted at times.

Raphael’s Ostrich begins with a little-studied aspect of Raphael’s painting—the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D’Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D’Elia demonstrates the rich variety of ways in which people made sense of this living “monster,” which was depicted as the embodiment of heresy, stupidity, perseverance, justice, fortune, gluttony, and other virtues and vices. Because Raphael was revered as a god of art, artists imitated and competed with his ostrich, while religious and cultural critics complained about the potential for misinterpreting such obscure imagery. This book not only considers the history of the ostrich but also explores how Raphael’s painting forced viewers to question how meaning is attributed to the natural world, a debate of central importance in early modern Europe at a time when the disciplines of modern art history and natural history were developing. The strangeness of Raphael’s ostrich, situated at the crossroads of art, religion, myth, and natural history, both reveals lesser-known sides of Raphael’s painting and illuminates major cultural shifts in attitudes toward nature and images in the Renaissance. More than simply an examination of a single artist or a single subject, Raphael’s Ostrich offers an accessible, erudite, and charming alternative to Vasari’s pervasive model of the history of sixteenth-century Italian art.

For some of us, myself included, chronic illness can be a cruel and painful road that we're unfortunately forced to walk alone. For in that place we spend far too many years suffering in total isolation where perceptions, prejudices and ignorance dominate every facet of our mortal being. A place where Lymes Disease, Gulf War Syndrome, Myalgic Encephalopathy, Chronic Fatigue Syndrome, Toxic Body Syndrome, Arthritis, Fibromyalgia, Depression and Stress etc, are simply written off as psychologically driven illnesses and / or illnesses that's there's no possibility of recovering from. But as someone who's been through the chronic illness mill and come out the other side, I'm here today proclaiming that there is a way through those illnesses and that way is mapped simply in my Raphael's Treatment Protocol.

Raphael’s Ostrich begins with a little-studied aspect of Raphael’s painting—the ostrich, which appears as an attribute of Justice, painted in the Sala di Costantino in the Vatican. Una Roman D’Elia traces the cultural and artistic history of the ostrich from its appearances in ancient Egyptian hieroglyphs to the menageries and grotesque ornaments of sixteenth-century Italy. Following the complex history of shifting interpretations given to the ostrich in scientific, literary, religious, poetic, and satirical texts and images, D’Elia demonstrates the rich variety of ways in which people made sense of this living “monster,” which was depicted as the embodiment of heresy, stupidity, perseverance, justice, fortune, gluttony, and other virtues and vices. Because Raphael was revered as a god of art, artists imitated and competed with his ostrich, while religious and cultural critics complained about the potential for misinterpreting such obscure imagery. This book not only considers the history of the ostrich but also explores how Raphael’s painting forced viewers to question how meaning is attributed to the natural world, a debate of central importance in early modern Europe at a time when the disciplines of modern art history and natural history were developing. The strangeness of Raphael’s ostrich, situated at the crossroads of art, religion, myth, and natural history, both reveals lesser-known sides of Raphael’s painting and illuminates major cultural shifts in attitudes toward nature and images in the Renaissance. More than simply an examination of a single artist or a single subject, Raphael’s Ostrich offers an accessible, erudite, and charming alternative to Vasari’s pervasive model of the history of sixteenth-century Italian art.

Raffaello Sanzio da Urbino, an illustrious Italian painter and architect of the High Renaissance, stands among the distinguished triumvirate of great masters from that period, alongside Michelangelo and Leonardo da Vinci. His artistic legacy is marked by paintings renowned for their lucid forms, harmonious compositions, and the visual embodiment of the Neoplatonic ideal of human grandeur. Despite his untimely demise at the age of 37, Raphael's prolific artistic journey unfolded through distinct phases and styles, as meticulously chronicled by Giorgio Vasari. His early years in Umbria set the stage, followed by a transformative four-year stint (1504–1508) in Florence, absorbing the city's rich artistic traditions. The final chapter unfolded in Rome, spanning twelve intense and triumphant years. During this period, Raphael served two popes and their inner circles, leaving an indelible mark on the Vatican Palace. Notably, the frescoed Raphael Rooms, a monumental achievement, showcased his artistic prowess. The iconic "School of Athens" in the Vatican Stanza della Segnatura stands as his magnum opus, capturing the essence of his genius. In the aftermath of his death, Raphael's influence waned momentarily as Michelangelo's prominence soared. However, the 18th and 19th centuries witnessed a resurgence of appreciation for Raphael's serene and harmonious attributes. His enduring impact extended beyond Rome, particularly through collaborative printmaking in his workshop, albeit with a notable decline in quality compared to his personal endeavors. Posthumously, Raphael's legacy faced shifting tides. While Michelangelo's sway held sway for a time, the 18th and 19th centuries brought about a renewed recognition of Raphael's calm and harmonious qualities as exemplars in the realm of art. Neoclassical painting, shaped significantly by Raphael's influence, found its roots in the admiration espoused by art historian Johann Joachim Winckelmann. However, it's worth noting that Raphael's approaches met dissenting voices, notably from groups like the Pre-Raphaelite Brotherhood, who distinctly repudiated his methods while navigating the evolving landscape of artistic appreciation.

"An audacious history of Josephus (37-c.100), the Jewish general turned Roman historian, whose emblematic betrayal is a touchstone for the Jew alone in the Gentile world"--Dust jacket flap.