Download At Last by Jacquie D'Alessandro PDF

By Jacquie D'Alessandro

Get eventually now earlier than this specific sale ends!

A attractive Regency-era romance novella!**

"Jacquie D'Alessandro writes romance at its mesmerizing best!"--*New York Times
Bestselling writer Teresa Medeiros**

Her earlier is ready to meet up with her and the scandal may well fee her everything...After indulging in a torrid affair, a countess leaves her good-looking Scottish lover at the back of within the highlands. but if he exhibits up in London, every little thing she holds expensive is threatened.

If you like Julia Quinn, Teresa Medeiros, Lisa Kleypas or Stephanie Laurens, try out AT LAST!*

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Additional info for At Last

Sample text

Prodesse and essample Within the framework of the estoire, Benoît’s rhetoric is by no means directionless: expansion for the sake of expansion, on the assumption that a longer text is necessarily a better one. Like any other author composing for a courtly audience, he is attempting to make the narrative attractive; hence, for example, his preference for direct as opposed to reported speech, his deliberately anecdotic framework in which events are proposed as self-contained episodes, even his fondness for concrete images rather than abstract concepts.

I am grateful to the museum’s Director, Monsieur Paul Mironneau, for bringing this manuscript to my attention during a visit made in February 2005. Godfried Croenen has conjectured that a librarius such as P. de Liffol, inspired perhaps by the success of manuscripts of the Grandes Chroniques de France, might have anticipated a comparable success by having copies of Froissart’s Chroniques copied and illustrated to a similar design, with no preconceived idea concerning particular patrons or clients.

133; its painter was described by Millard Meiss in a review published in 1956 as a follower of the Boucicaut Master: ‘His masterpiece, an apocalypse that belonged to Jean de Berry (Morgan 133), shows a boldness of color that matches the powerful designs … broad expanses of yellow, red, green, often brought up to chalk white and displayed before rich maroon backgrounds (Plate 11). These colors are laid on with a freedom that is reminiscent of the wash-techniques prized especially in the Netherlands.

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