How should one interpret music of another century? What standards should be applied to an 18th century harpsichord work, for instance, being performed on a piano? Keyboard "methods"--systematic approaches to training, touch, and interpretation--did not evolve until the 19th century, and written methodologies are few. Drawing on primary sources, the author has compiled a detailed analysis of such keyboard "methods" as existed in Europe in the 17th, 18th, and 19th centuries. Most were developed by Couperin, C.P.E. Bach, Turk, J.S. Bach, Mozart, Chopin and Liszt. Also discussed, with translations from their writings and their critics', are the detailed theoretical works by Kullak and Lussy. Analysis shows which techniques had been adapted from earlier practice and which were original to the composer, demonstrating the evolution of the various methods. Techniques useful in the interpretation of period material, and which still have important applications today, are pointed out.

"Richard Beere, 1493-1524. Began Edgar Chapel; built crypt under Lady Chapel and dedicated it to St Joseph; built a chapel of the Holy Sepulchre at south end of nave; built the Loretto chapel; added vaulting under central tower and flying buttresses at east end of choir; built St Benignus' Church and rebuilt Tribunal. Richard Whiting, 1525-1539. Completed Edgar Chapel."--Wikipedia.

A fascinating study of expansionist visions of Hitler and Mussolini which enlightens our understanding of the dynamics and evolution of the fascist policies of Italy and Germany to the end of the Second World War.

A foundational text in the Seventh Day Adventist church, The Great Controversy is a vision White had of the great battle between Christ and Satan throughout the ages of the early and modern church. Although the book is not held with as high esteem in Protestant circles, it still is able to outline a way of impactful theological thinking.

What kind of city was the Fascist 'third Rome'? Imagined and real, rooted in the past and announcing a new, 'revolutionary' future, Fascist Rome was imagined both as the ideal city and as the sacred centre of a universal political religion. Kallis explores this through a journey across the sites, monuments, and buildings of the fascist capital.