A Name in Blood by Matt Rees

By Matt Rees

Italy, 1605: For the ruling Borghese relations, Rome is a spot of grand palazzos and frescoed cathedrals. For the lowly artist Caravaggio, it's a position of tough bars, knife fights, and grubby whores. till he's commissioned to color the Pope...

Soon, Caravaggio has received access into the Borgia family's internal circle, and turns into the main celebrated artist in Rome. but if he falls for Lena, a low-born fruit-seller, and paints her into his Madonna sequence as an easy peasant girl, Italian society is outraged. Discredited as an artist, yet unwilling to retract his imaginative and prescient of the girl he loves, Caravaggio is compelled right into a duel - and murders a nobleman.

Even his strong consumers can't guard him from a demise sentence. So Caravaggio flees to Malta, the place, earlier than he could be pardoned, he needs to suffer the rigorous education of the Knights of Malta. His work proceed to talk of his love for Lena. yet prior to he can go back to her, as a Knight and a noble,...

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Later, on Caligula’s accession, the people of Assos were keen to remind him of his visit with his father, and sent the new emperor a decree of loyalty. It seems that Caligula, yielding nothing to his father in diplomatic charm, had made some sort of address to them, although hardly six years old. 33 This is the first recorded demonstration of Caligula’s considerable oratorical skill. To what extent he owed his precocious ability to his father is uncertain, as Germanicus was dead before the boy entered his truly formative years, but this early incident, even allowing for the inevitable rhetorical exaggeration, does suggest that Germanicus might have fostered his son’s talents in this area (see p.

6 These impressions clearly represent a romanticised view of Caligula’s father, one that was no doubt fostered among the Roman people by anti-Tiberian elements after his early death. Although a closer inspection of his career reveals serious errors of judgement and even a degree of emotional instability, the reality would prove far less important than the image in fostering the prospects of his son for the principate. As a clear indication of Augustus’ determination to be succeeded by someone from his own line, Germanicus, shortly after his adoption by Tiberius, was married to the emperor’s granddaughter Agrippina.

Her death, of course, changed the situation, and although the details are unknown to us, Sejanus must have pressed his case with Tiberius. His success was marked by the arrival of a letter from the emperor to the senate, denouncing Agrippina and her son (Tacitus reports a popular belief that the letter had been sent much earlier but suppressed by Livia). It studiously avoided charging treason, merely accusing Nero of sexual perversions and Agrippina of arrogant language and vexatious pride. The indictment placed the senate in a dilemma.

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