This book explores the policy objectives underlying the gift of this Order, to sixty men, on January 1 1403. Drawing primarily on Philip's household accounts, it undertakes complementary iconographical and prosopographical analyses (of the Order insignia's form, materials, design and motto; and of distinguishing common features among its recipients), refined by reference to his policy concerns around the occasion of its bestowal, to test seven hypotheses. The evidence from the analyses enables six of these (that it was purely decorative; a courtly conceit; crusade-related; a military chivalric order; a livery badge; or a military alliance) progressively to be discarded, pointing strongly to the seventh, that the Order was a specific policy alliance, designed in fashionable form, to obscure its politically sensitive purpose. The nature of that purpose then permits a revision of Philip's role in history, particularly in relation to the creation of an independent Burgundian state, and the use of a co-ordinated propaganda campaign of slogan, badge, and supporting literature, to legitimise and popularise his plans. The analytical approach also offers insights into the significance of decorative, material gift-giving; the identification of networks; Christine de Pisan's earlier political writings, and the origins of the Order of the Golden Fleece. Carol Chattaway is Honorary Research Assistant at the Royal College of Art and University College, London University. She researches on the political significance of material objects at the Burgundian Court, in the later middle ages.

This book investigates Jan Van Eyck's patronage by the Crown of Portugal and his role as diplomat-painter for the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429, when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided for the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analysed with regard to King Joao I's conquest of Ceuta, achieved by his sons, who were hailed as an "illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitania's sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henry the Navigator's expedition to Tangier and King Duarte's attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in the light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy. Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders. In 1993, she was conferred O Grao Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eyck's diplomatic visits to the Iberian Peninsula.

After the time of the legends, the tale of the Guardians returns to the present in which Soren, the hero of Books 1-6, must train a new king. Old friends, new adventures!Coryn, Soren, and the Band preside over a new Golden Age of the Great Tree under the subtle influence of the Ember. All seems well, but beneath the prosperity of peace Coryn is tortured by the suspicion that his evil mother, Nyra, is a hagsfiend and that his own blood carries the haggish taint. He wanders afar searching for the truth from hagsfiends themselves - putting the Great Tree in danger. Soren & the Band follow their new king to strange parts to guard him from the consequences of his obsession.

In the eighteenth century, Jack is forced to join the Royal Navy to fight in the war against France. A chain of unforeseen events lead, eventually, to the discovery of a magical tree. The Golden Tree transports the children to a time far away from their own, and the adventure begins.

When she boards the plane to go in search of her long-lost father, anthropology student Annea never expects this to be the most extraordinary journey of her life, as she fatefully opens a dragon portal that sends her 3000 years back into a magical world, unleashing the fulfilment of an ancient prophecy. In this mysterious realm, an imminent war threatens the survival of the most advanced civilization north of the Ælben Mountains. King Asttrian of the Skyarach will stop at nothing to gain complete control over all Dragon Kingdoms, and only his bastard cousin Arachtan and the druid orders can stop him. But as long as the sword of power remains lost and the last dragon is in hibernation, there is no telling whether the rule of light or darkness will eventually prevail. The story takes the reader on a magical journey through mythical landscapes of Europe, in a time without memory, when magic was written on every stone, every tree and every thought.

Essays offering new insights into important topics and figures in German literature, from the middle ages to the present day. The essays in this volume, contributed by well-known Germanists and those working in the field of comparative literature, take fresh looks at key figures and issues in German literary and cultural studies, from the medieval to thepost-modernist period.