From one of Britain’s most respected and acclaimed art historians, art critic of The Guardian—the galvanizing story of a sixteenth-century clash of titans, the two greatest minds of the Renaissance, working side by side in the same room in a fierce competition: the master Leonardo da Vinci, commissioned by the Florentine Republic to paint a narrative fresco depicting a famous military victory on a wall of the newly built Great Council Hall in the Palazzo Vecchio, and his implacable young rival, the thirty-year-old Michelangelo. We see Leonardo, having just completed The Last Supper, and being celebrated by all of Florence for his miraculous portrait of the wife of a textile manufacturer. That painting—the Mona Lisa—being called the most lifelike anyone had ever seen yet, more divine than human, was captivating the entire Florentine Republic. And Michelangelo, completing a commissioned statue of David, the first colossus of the Renaissance, the archetype hero for the Republic epitomizing the triumph of the weak over the strong, helping to reshape the public identity of the city of Florence and conquer its heart. In The Lost Battles, published in England to great acclaim (“Superb”—The Observer; “Beguilingly written”—The Guardian), Jonathan Jones brilliantly sets the scene of the time—the politics; the world of art and artisans; and the shifting, agitated cultural landscape. We see Florence, a city freed from the oppressive reach of the Medicis, lurching from one crisis to another, trying to protect its liberty in an Italy descending into chaos, with the new head of the Republic in search of a metaphor that will make clear the glory that is Florence, and seeing in the commissioned paintings the expression of his vision. Jones reconstructs the paintings that Leonardo and Michelangelo undertook—Leonardo’s Battle of Anghiari, a nightmare seen in the eyes of the warrior (it became the first modern depiction of the disenchantment of war) and Michelangelo’s Battle of Cascina, a call to arms and the first great transfiguration of the erotic into art. Jones writes about the competition; how it unfolded and became the defining moment in the transformation of “craftsman” to “artist”; why the Florentine government began to fall out of love with one artist in favor of the other; and how—and why—in a competition that had no formal prize to clearly resolve the outcome, the battle became one for the hearts and minds of the Florentine Republic, with Michelangelo setting out to prove that his work, not Leonardo’s, embodied the future of art. Finally, we see how the result of the competition went on to shape a generation of narrative paintings, beginning with those of Raphael. A riveting exploration into one of history’s most resonant exchanges of ideas, a rich, fascinating book that gives us a whole new understanding of an age and those at its center.

From the author's introduction: Ancient battles seize the modern imagination. Far from being forgotten, they have become a significant aspect of popular culture, prompting a continuing stream of books, feature films, television programs and board and computer games... there is a certain escapist satisfaction in looking back to an era when conflicts between entire states turned on clear-cut pitched battles between formed armies, lasting just a few hours and spanning just a few miles of ground. These battles were still unspeakably traumatic and grisly affairs for those involved - at Cannae, Hannibal's men butchered around two and a half times as many Romans (out of a much smaller overall population) as there were British soldiers killed on the notorious first day of the Somme. However, as with the great clashes of the Napoleonic era, time has dulled our preoccupation with such awful human consequences, and we tend to focus instead on the inspired generalship of commanders like Alexander and Caesar and on the intriguing tactical interactions of units such as massed pikemen and war elephants within the very different military context of pre-gunpowder warfare. Lost Battles takes a new and innovative approach to the battles of antiquity. Using his experience with conflict simulation, Philip Sabin draws together ancient evidence and modern scholarship to construct a generic, grand tactical model of the battles as a whole. This model unites a mathematical framework, to capture the movement and combat of the opposing armies, with human decisions to shape the tactics of the antagonists. Sabin then develops detailed scenarios for 36 individual battles such as Marathon and Cannae, and uses the comparative structure offered by the generic model to help cast light on which particular interpretations of the ancient sources on issues such as army size fit in best with the general patterns observed elsewhere. Readers can use the model to experiment for themselves by re-fighting engagements of their choice, tweaking the scenarios to accord with their own judgment of the evidence, trying out different tactics from those used historically, and seeing how the battle then plays out. Lost Battles thus offers a unique dynamic insight into ancient warfare, combining academic rigor with the interest and accessibility of simulation gaming. This book includes access to a downloadable computer simulation where the reader can view the author's simulations as well create their own.

Throughout 1943, the German army, heirs to a military tradition that demanded and perfected relentless offensive operations, succumbed to the realities of its own overreach and the demands of twentieth-century industrialized warfare. In his new study, prizewinning author Robert Citino chronicles this weakening Wehrmacht, now fighting desperately on the defensive but still remarkably dangerous and lethal. Drawing on his impeccable command of German-language sources, Citino offers fresh, vivid, and detailed treatments of key campaigns during this fateful year: the Allied landings in North Africa, General von Manstein's great counterstroke in front of Kharkov, the German attack at Kasserine Pass, the titanic engagement of tanks and men at Kursk, the Soviet counteroffensives at Orel and Belgorod, and the Allied landings in Sicily and Italy. Through these events, he reveals how a military establishment historically configured for violent aggression reacted when the tables were turned; how German commanders viewed their newest enemy, the U.S. Army, after brutal fighting against the British and Soviets; and why, despite their superiority in materiel and manpower, the Allies were unable to turn 1943 into a much more decisive year. Applying the keen operational analysis for which he is so highly regarded, Citino contends that virtually every flawed German decision-to defend Tunis, to attack at Kursk and then call off the offensive, to abandon Sicily, to defend Italy high up the boot and then down much closer to the toe-had strong supporters among the army's officer corps. He looks at all of these engagements from the perspective of each combatant nation and also establishes beyond a shadow of a doubt the synergistic interplay between the fronts. Ultimately, Citino produces a grim portrait of the German officer corps, dispelling the longstanding tendency to blame every bad decision on Hitler. Filled with telling vignettes and sharp portraits and copiously documented, The Wehrmacht Retreats is a dramatic and fast-paced narrative that will engage military historians and general readers alike.

Alongside Waterloo and Gettysburg, the Battle of Verdun during the First World War stands as one of history’s greatest clashes. Perfect for military history buffs, this compelling account of one of World War I’s most important battles explains why it is also the most complex and misunderstood. Although British historians have always seen Verdun as a one-year battle designed by the German chief of staff to bleed France white, historian John Mosier’s careful analysis of the German plans reveals a much more abstract and theoretical approach. From the very beginning of the war until the armistice in 1918, no fewer than eight distinct battles were waged there. These conflicts are largely unknown, even in France, owing to the obsessive secrecy of the French high command. Our understanding of Verdun has long been mired in myths, false assumptions, propaganda, and distortions. Now, using numerous accounts of military analysts, serving officers, and eyewitnesses, including French sources that have never been translated, Mosier offers a compelling reassessment of the Great War’s most important battle.

A group of American Civil War soldiers are swept away from the battlefields of Earth to a distant alien world--where the only place for a human is an early grave! But the Union 35th Maine regiment embodies the radical ideas of freedom and democracy, and they're willing to lay down their lives to stop this alien reign of terror!

In 1940, the German army fought and won an extraordinary battle with France in six weeks of lightning warfare. With the subtlety and compulsion of a novel, Horne’s narrative shifts from minor battlefield incidents to high military and political decisions, stepping far beyond the confines of military history to form a major contribution to our understanding of the crises of the Franco-German rivalry. To Lose a Battle is the third part of the trilogy beginning with The Fall of Paris and continuing with The Price of Glory (already available in Penguin).

The incredible story of the unlikeliest battle of World War II, when a small group of American soldiers joined forces with German soldiers to fight off fanatical SS troops May, 1945. Hitler is dead, the Third Reich is little more than smoking rubble, and no GI wants to be the last man killed in action against the Nazis. The Last Battle tells the nearly unbelievable story of the unlikeliest battle of the war, when a small group of American tankers, led by Captain Lee, joined forces with German soldiers to fight off fanatical SS troops seeking to capture Castle Itter and execute the stronghold's VIP prisoners. It is a tale of unlikely allies, startling bravery, jittery suspense, and desperate combat between implacable enemies.