Giulia has been an orphan all her life. Raised in Florence's famous Ospedale degli Innocenti, her probing questions and insubordinate behavior made her an unwelcome presence, and at the age of fifteen, she was given an awful choice: become a nun, or be married off to a man she didn't love. She chose neither, and after refusing an elderly suitor, Giulia escaped onto the streets of Florence. Now, after spending two years as a successful pickpocket, an old man catches her about to make off with his purse, and rather than having her carted off to prison he offers her a business proposition. The man claims to be a cabalist, a student of Jewish mysticism and ritual magic, who works for the most powerful families in Florence. But his identity is secret -- he is known only as "the Magician of Florence" -- and he is in need of an assistant. She accepts the job and begins smuggling his talismans throughout the city.

In the early development of the modern Italian state, individual orphanages were a reflection of the intertwining of politics and charity. Nearly half of the children who lived in the cities of the late Italian Renaissance were under fifteen years of age. Grinding poverty, unstable families, and the death of a parent could make caring for these young children a burden. Many were abandoned, others orphaned. At a time when political rulers fashioned themselves as the "fathers" of society, these cast-off children presented a very immediate challenge and opportunity. In Bologna and Florence, government and private institutions pioneered orphanages to care for the growing number of homeless children. Nicholas Terpstra discusses the founding and management of these institutions, the procedures for placing children into them, the children's daily routine and education, and finally their departure from these homes. He explores the role of the city-state and considers why Bologna and Florence took different paths in operating the orphanages. Terpstra finds that Bologna's orphanages were better run, looked after the children more effectively, and were more successful in returning their wards to society as productive members of the city's economy. Florence's orphanages were larger and harsher, and made little attempt to reintegrate children into society. Based on extensive archival research and individual stories, Abandoned Children of the Italian Renaissance demonstrates how gender and class shaped individual orphanages in each city's network and how politics, charity, and economics intertwined in the development of the early modern state.

Vivacious Sancha of Aragon arrives in Rome newly wed to a member of the notorious Borgia dynasty. Surrounded by the city's opulence and political corruption, she befriends her glamorous and deceitful sister-in-law, Lucrezia, whose jealousy is as legendary as her beauty. Some say Lucrezia has poisoned her rivals, particularly those to whom her handsome brother, Cesare, has given his heart. So when Sancha falls under Cesare's irresistible spell, she must hide her secret or lose her life. Caught in the Borgias' sinister web, she summons her courage and uses her cunning to outwit them at their own game. Vividly interweaving historical detail with fiction, The Borgia Bride is a richly compelling tale of conspiracy, sexual intrigue, loyalty, and drama.

1891. In a remote and crumbling New England mansion, 12-year-old orphan Florence is neglected by her guardian uncle and banned from reading. Left to her own devices she devours books in secret and talks to herself - and narrates this, her story - in a unique language of her own invention.

Florence looks forward to a new life with her great uncle and aunt at an old manor house. But Florence doesn't expect the ghost of her cousin Sophia, who concocts a plan to use Florence to help her achieve her murderous goals.