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Padre Wilton ha cominciato scrivendo questi pensieri rivolti alle Suore (anche alle Suore secolari), ma poi, con la crescita della Famiglia della Copiosa Redenzione attraverso la fondazione dei Frati e dei Laici Consacrati, ha ampliato l’orizzonte della sua paternità spirituale. Ogni pensiero porta in sé una profondità unica, che rivela aspetti della sua relazione personale con Gesù e, allo stesso tempo, caratteristiche basilari del Carisma della Copiosa Redenzione. I temi sembrano tanto diversi fra loro, ma rivelano che c’è un unico filo conduttore che attraversa tutta l’opera, ovvero la Redenzione di Gesù. Il lettore è invitato non solo a fare una scoperta intellettuale dell’Amore Salvifico di Dio, ma a sperimentare personalmente questa Salvezza attraverso Gesù Cristo, il nostro Redentore. Questo libro è un vero testamento spirituale di Padre Wilton, che ha saputo sperimentare e trasmettere con la sua vita i tesori più preziosi della santità di Cristo in quest’epoca della Chiesa.

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Here is the ultimate, one-volume story of Turner's life and work. Superb colour plates illuminate Turner's range - dramatic views of the sea or mountains, sweeping landscapes, architecture, imaginary scenes from history and legend, panoramas of contemporary towns - while the fruits of his travels, not just over Britain but also in France, Switzerland, Germany and Italy, are presented in the context of his life. In the most attractive work for a wide audience ever published, the text reveals the man, the illustrations his genius.

Britain has played a key part in the history of the last five centuries, and its art reflects this in absorbing and complex ways. The distinguished art historian Andrew Wilton traces the story of British painting from its hesitant beginnings under the influence of Holbein through its maturity in the time of Hogarth and Reynolds, when it reflected a prosperous society with growing imperial influence. \n \nThe pioneering role of Constable and Turner in the revolutions of the Romantic period is fully explored, and the enigmatic position of artists in Victorian England, when a stiff moral code came into conflict with the uncertainties of the age of Darwin. Consistent undercurrents revealed include Britain's preference for the real world (landscape, portraiture) as against `high' art and abstraction. \n \nAndrew Wilton offers new insights into the great personalities of British painting, and assesses afresh the latest flowering, in which many threads of modern art come together in sometimes startling guises.

Britain has played a key part in the history of the last five centuries, and its art reflects this in absorbing and complex ways. The distinguished art historian Andrew Wilton traces the story of British painting from its hesitant beginnings under the influence of Holbein through its maturity in the time of Hogarth and Reynolds, when it reflected a prosperous society with growing imperial influence. \n \nThe pioneering role of Constable and Turner in the revolutions of the Romantic period is fully explored, and the enigmatic position of artists in Victorian England, when a stiff moral code came into conflict with the uncertainties of the age of Darwin. Consistent undercurrents revealed include Britain's preference for the real world (landscape, portraiture) as against `high' art and abstraction. \n \nAndrew Wilton offers new insights into the great personalities of British painting, and assesses afresh the latest flowering, in which many threads of modern art come together in sometimes startling guises.

The postcards in It’ll All Be Over By Christmas paint a picture of the First World War as experienced by those at home, at the front, in training, in hospital and in convalescence. These personal messages were sent from fathers to their wives and children, sons to family, friends and loved ones – sharing their thoughts, hopes and worries as well as the lighter side of life. There are cards from those at sea, in prisoner-of-war camps and those of the Central Powers.  \n\n\n \n\n\nFeaturing over 150 illustrations, including some rare examples, the book also demonstrates how the postcard was ulitised to enlist volunteers and boost morale through humour, sentimentality and propaganda. Postcards encouraged support of the war effort through fundraising, sending ‘comforts’ to those on the front line and promoting practical roles for women.\n\n\n\n\n\n\n\nThis fascinating book offers a profound insight into the experiences of war through postcards, as well the part that they played in promoting it.

Here is the ultimate, one-volume story of Turner's life and work. Superb colour plates illuminate Turner's range - dramatic views of the sea or mountains, sweeping landscapes, architecture, imaginary scenes from history and legend, panoramas of contemporary towns - while the fruits of his travels, not just over Britain but also in France, Switzerland, Germany and Italy, are presented in the context of his life. In the most attractive work for a wide audience ever published, the text reveals the man, the illustrations his genius.

The postcards in It’ll All Be Over By Christmas paint a picture of the First World War as experienced by those at home, at the front, in training, in hospital and in convalescence. These personal messages were sent from fathers to their wives and children, sons to family, friends and loved ones – sharing their thoughts, hopes and worries as well as the lighter side of life. There are cards from those at sea, in prisoner-of-war camps and those of the Central Powers.  \n\n\n \n\n\nFeaturing over 150 illustrations, including some rare examples, the book also demonstrates how the postcard was ulitised to enlist volunteers and boost morale through humour, sentimentality and propaganda. Postcards encouraged support of the war effort through fundraising, sending ‘comforts’ to those on the front line and promoting practical roles for women.\n\n\n\n\n\n\n\nThis fascinating book offers a profound insight into the experiences of war through postcards, as well the part that they played in promoting it.

Wilton House in Salisbury, England, has been the ancestral home of the Earl of Pembroke for nearly 500 years and boasts one of the most fascinating and varied histories of all Britain s historic houses. Shaped over centuries by the most significant names in architecture and interior design, Wilton is known as the finest example of Palladian architecture in England, with interiors by Inigo Jones and John Webb, furniture by William Kent and Thomas Chippendale, and unparalleled collections of both classical sculpture and Old Master paintings with masterpieces by Raphael, Titian, Rembrandt, and Tintoretto among its rooms. The book explores the development of the house and its collections, from the Van Dyck paintings in Jones s remarkable Single and Double Cube state rooms to the Arundel marbles housed in James Wyatt s Gothic-revival cloisters. With a foreword by the Earl of Pembroke, a revelatory text by the historian John Martin Robinson, and imagery drawn both from Wilton s private archives and from eminent architectural and interiors photographers, this book lifts the veil on Wilton House and its remarkable history.

English-French Translation: A Practical Manual allows advanced learners of French to develop their translation and writing skills. This book provides a deeper understanding of French grammatical structures, the nuances of different styles and registers and helps increase knowledge of vocabulary and idiomatic language.\n\nThe manual provides a wealth of practical tasks based around carefully selected extracts from the diverse text types students are likely to encounter, from literary and expository, to persuasive and journalistic. A mix of shorter targeted activities and lengthier translation pieces guides learners through the complexities and challenges of translation from English into French. \n\nThis comprehensive manual is ideal for advanced undergraduate and postgraduate students in French language and translation.

English-French Translation: A Practical Manual allows advanced learners of French to develop their translation and writing skills. This book provides a deeper understanding of French grammatical structures, the nuances of different styles and registers and helps increase knowledge of vocabulary and idiomatic language.\n\nThe manual provides a wealth of practical tasks based around carefully selected extracts from the diverse text types students are likely to encounter, from literary and expository, to persuasive and journalistic. A mix of shorter targeted activities and lengthier translation pieces guides learners through the complexities and challenges of translation from English into French. \n\nThis comprehensive manual is ideal for advanced undergraduate and postgraduate students in French language and translation.

'An utterly compelling, atmospheric, twisty domestic suspense novel that packs a real emotional punch.' Alice Hunter\n\nThe perfect life. The perfect home. But at what price?\n\nIntrospective Ruth Parker is desperate for love and attention. Overlooked as a child by her cold and critical mother, her pain manifests in loneliness and a crippling lack of self-esteem. When glamorous actress 'Aunt' Vanessa, her mother's childhood friend, shows an interest in her, Ruth basks in the blinding light of her attention.\n\nOnce Ruth escapes to university in London, Aunt Vanessa invites her to Wilton Place, her stunning Belgravia residence. As she blossoms under Vanessa's guidance, Ruth finds herself torn between student life and the hypnotic, luxurious confines of Wilton Place. Belgravia wins out, but when Ruth explores the gloomy attic of her new home and finds a hidden, locked door, she discovers that Vanessa is hiding the darkest of secrets from her childhood, secrets that threaten everything Ruth knew about her own mother.\n\nHow far will Ruth go to find the truth - and how much does she really want to know?\n\nA twisty, Gothic-inspired chiller that fans of Kate Morton, Louise Douglas and Kathleen McGurl will love.\n\nReaders can't put down The Attic at Wilton Place:\n\n'I loved The Attic at Wilton Place. The wonderful writing and characterisation drew me in instantly, as did the hint of secrets soon to be revealed. A satisfying read - highly recommended!' Elisabeth Carpenter\n\n'I loved it so much and couldn't put it down. First class story, first class character development. Everything I relish in a novel.' Amanda Robson\n\n'Brilliantly addictive and absorbing, with that perfect touch of darkness I have come to expect from this author. I devoured it in an evening!' D.E. White\n\n'This book was easily one of the best I've read in the last few years ... the story kept me hooked ... I struggled to put it down ... The twist at the end where her motives are revealed were not what I was expecting at all... ' Reader Review\n\n'Another suspense-filled book by C E Rose. I literally could not put it down ... I can definitely recommend this book, with it's Gothic feel.' Reader Review\n\n'Heart-pounding thriller that left me on the edge of my seat. I thoroughly enjoyed reading this one. Definitely one of the best books this year.' Reader Review\n\n'I thoroughly loved this book. The characters were wonderful and very easy to identify with. I would definitely recommend ... and I have bought several of this author's books.' Reader Review\n\n'C.E. Rose is a marvellous storyteller. With terrific characterization and a well drawn plot this is another well written, compelling read that I had trouble putting down. Highly recommended...' Reader Review\n\n'Wow! ... It was a great read and I would recommend it to anyone who has a mother.' Reader Review\n\n'This is a unique, different story which I love. The characters were well written ... I was...

Wilton House in Salisbury, England, has been the ancestral home of the Earl of Pembroke for nearly 500 years and boasts one of the most fascinating and varied histories of all Britain s historic houses. Shaped over centuries by the most significant names in architecture and interior design, Wilton is known as the finest example of Palladian architecture in England, with interiors by Inigo Jones and John Webb, furniture by William Kent and Thomas Chippendale, and unparalleled collections of both classical sculpture and Old Master paintings with masterpieces by Raphael, Titian, Rembrandt, and Tintoretto among its rooms. The book explores the development of the house and its collections, from the Van Dyck paintings in Jones s remarkable Single and Double Cube state rooms to the Arundel marbles housed in James Wyatt s Gothic-revival cloisters. With a foreword by the Earl of Pembroke, a revelatory text by the historian John Martin Robinson, and imagery drawn both from Wilton s private archives and from eminent architectural and interiors photographers, this book lifts the veil on Wilton House and its remarkable history.

The Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly 're-baptized' his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient - some of them among the oldest works of art in existence - but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture.\n\n\n\nAbout half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting.\n\n\n\nIllustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl's collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.

The Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly 're-baptized' his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient - some of them among the oldest works of art in existence - but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture.\n\n\n\nAbout half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting.\n\n\n\nIllustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl's collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.

The collection of pictures at Wilton has been celebrated since the seventeenth century; and its historic arrangement is uniquely well documented in a series of catalogues of which the first, issued in 1731, was the earliest such publication about any private collection in England. Of successive owners of the house, three made significant contributions: William, 4th Earl of Pembroke, who commissioned van Dyck's monumental portrait of his family that dominates the Double Cube Room he had created; his grandson, Thomas, 8th Earl of Pembroke who assembled what was in some respects a pioneering collection of old master pictures for the house; and his grandson, Henry, 10th Earl of Pembroke, patron of Reynolds and Wilson, among others. Such masterpieces as Lucas van Leyden's Card Players, Cesare da Sesto's Leda - long attributed to Leonardo - and Ribera's Democritus are matched by remarkable portrait drawings by Raphael and Holbein. These are complemented by a substantial deposit of family portraits and other pictures that attest to the tastes and interests of successive generations of the Herbert family.

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