Venture into the eerie and enigmatic with Ambrose Bierce’s collection of supernatural tales, "Can Such Things Be." This gripping anthology explores the boundaries of reality with stories that delve into the realms of the bizarre and the uncanny. What if the most unsettling experiences were not just figments of imagination but genuine encounters with the supernatural? Bierce’s masterful storytelling will leave you questioning the line between reality and the supernatural, challenging your perceptions of what is possible. With its chilling narratives and unsettling twists, this collection is perfect for readers who relish spine-tingling tales and the exploration of the unknown. Ideal for fans of classic horror and supernatural fiction. Are you prepared to confront the unsettling mysteries of "Can Such Things Be" and uncover the dark secrets that lie beyond the ordinary? Embrace the unknown—purchase "Can Such Things Be" today and dive into a world of supernatural intrigue and suspense!

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

The Emerald Tablet, also known as the Smaragdine Table, or Tabula Smaragdina, is a compact and cryptic piece of the Hermetica reputed to contain the secret of the prima materia and its transmutation. It was highly regarded by European alchemists as the foundation of their art and its Hermetic tradition. The original source of the Emerald Tablet is unknown. Hermes Trismegistus is the author named in the text.The layers of meaning in the Emerald Tablet have been associated with the creation of the philosopher's stone, laboratory experimentation, phase transition, the alchemical magnum opus, the ancient, classical, element system, and the correspondence between macrocosm and microcosm.

Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.

What readers are saying about this books: "I could not put this book down and despite a mountain of jobs to do I kept convincing myself ''just one more chapter''." "How brave, or was it foolhardy? Sabina and Robert set off to a country they didn''t know and a language that they didn''t speak - could this be a recipe for disaster or an amazing adventure? I gasped and laughed and almost cried at various points in their story. Do read it you won''t be disappointed and the good news is that there is more, as this is only the first year!!!" "I was transported to another place that was idyllic and yet took perseverance and determination to survive." "Sabina describes the local area and people with great passion, bringing everything to life for the reader. Adapting to a new way of life in rural Andalusia, throwing themselves into learning the ways of the village, embarking on harvesting their olive trees, delighting at the production of their own olive oil. Harvesting and learning how to preserve figs and tomatoes, there is never a dull moment. No matter the hardships encountered, they still manage to see the humorous side of life." "I loved this book and found the trials and tribulations of Sabina and Robert really interesting. It was so well written and had some really humorous parts. I felt quite sad when I finished the book and I''m looking forward to the next instalment." "What happens if you take two city dwellers, living in the UAE, and transplant them to a ruin in rural Andalucía? Answer: The Crinkle Crankle Wall. Although I live 1000km north of Sabina in a totally different part of Spain, her descriptions of rural life and the characters which populate their tiny rural town struck a strong chord. Language problems, fitting in with the neighbours and renovation nightmares all struck home and I enjoyed following a similar yet very different story of moving to Spain." from Lisa Rose Wright the author of Plum, Courgette & Green Bean Tart: A year to write home about - Seeking la vida dulce in Galicia After years of dreaming of living close to nature, free from a daily commute and noisy neighbours, Sabina and Robert decide to travel from Abu Dhabi to Spain in search of their dream home. As soon as they drive across Andalusia, they fall in love with its rugged beauty, whitewashed villages, red geraniums, giant aloes, and endless olive trees. After weeks of visiting ruins and dilapidated sheds advertised as homes, they find a little stone cottage in a mountain valley in the middle of nowhere. Equipped with everything that a romantic soul desires: a patio shaded by grape vines, an ancient bay leaf tree, and a formidable oak in front of a long driveway, they fall in love with this property and decide to reform it into a guest house. With little foresight or planning, they exchange cushy expats lives for a life in the sun. Quite quickly, however, they find themselves battling cowboy builders, no electricity, a dry well, torrential rain storms, and a freezing cold winter without a roof over their heads. Through all these adventures, they develop relations with their neighbours who had lived in the valley for many generations. Puzzled by the strangers'' behaviour, the neighbours teach them about olive picking, and the cultivation of local vegetables. But primarily, they offer their endless generosity and insight into life in rural Andalusia. As they begin to settle in, financial problems confront our somewhat naïve couple. Without steady pay checks and construction bills piling up, their idea of the good life starts to fall apart. Written with a wry sense of honest humour, this story is filled with twists and turns that take the reader on a journey from a life where every day was monotonously repetitive to a place where every day presents a new challenge.