When young Mary Howard receives the news that she will be leaving her home for the grand court of King Henry VIII, to attend his mistress Anne Boleyn, she is ecstatic. Everything Anne touches seems to turn to gold, and Mary is certain Anne will one day become Queen. But Mary has also seen the King's fickle nature and how easily he discards those who were once close to him. . . Discovering that she is a pawn in a carefully orchestrated plot devised by her father, the duke of Norfolk, Mary dare not disobey him. Yet despite all of her efforts to please him, she too falls prey to his cold wrath. Not until she becomes betrothed to Harry Fitzroy, the Duke of Richmond and son to King Henry VIII, does Mary finds the love and approval she's been seeking. But just when Mary believes she is finally free of her father, the tides turn. Now Mary must learn to play her part well in a dangerous chess game that could change her life--and the course of history. "A beautifully written story with wonderful attention to detail. I loved the book." --Diane Haeger, author of The Queen's Mistake "Throbs with intensity as it lays bare the secret delights of Tudor court life and the sudden, lethal terrors. A tale of innocence and ruthless ambition locked in a love-hate embrace." --Barbara Kyle, author of The King's Daughter D.L Bogan is a history major, aiming for a master's so that she might lecture one day. She is also a musician with classical voice training who has been playing keyboards and singing in bands since she was 18. She also enjoys reading, traveling, summer activities, spending time with family and friends, and researching her next novel! She makes her home in central Wisconsin.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 The search for Chapuys the man begins in the charming old city of Annecy in south-eastern France, near the border with Switzerland. He was born in 1499. The exact year of his birth is uncertain, as we lack a birth certificate. #2 Annecy is a popular winter gateway to the ski resorts of the French Alps. It is a picture-postcard medieval center, with the town’s main museum, La Musée-château d’Annecy, housing the only known portraits of Eustace Chapuys. #3 There are four portraits of Eustache Chapuys: one in the Annecy museum, one in the Lycée Berthollet, and two others that are stored in the Académie Florimontane in Annecy. They all show a different-looking Chapuys, with different facial features and different robes. #4 Eustace Chapuys was the son of Louis and Guigone Chapuys. He was a notary and a municipal official, and he had a law degree. He was also ambitious and career-minded, and he became a diplomat.

Since the days in the early twentieth century when the study of pre-Reformation English music first became a serious endeavour, a conceptual gap has separated the scholarship on English and continental music of the late fifteenth and early sixteenth centuries. The teaching which has informed generations of students in influential textbooks and articles characterizes the musical life of England at this period through a language of separation and conservatism, asserting that English musicians were largely unaware of, and unaffected by, foreign practices after the mid-fifteenth century. The available historical evidence, nevertheless, contradicts a facile isolationist exposition of musical practice in early Tudor England. The increasing appearance of typically continental stylistic traits in mid-sixteenth-century English music represents not an arbitrary and unexpected shift of compositional approach, but rather a development prefaced by decades of documentable historical interactions. Theodor Dumitrescu treats the matter of musical relations between England and continental Europe during the first decades of the Tudor reign (c.1485-1530), by exploring a variety of historical, social, biographical, repertorial and intellectual links. In the first major study devoted to this topic, a wealth of documentary references scattered in primary and secondary sources receives a long-awaited collation and investigation, revealing the central role of the first Tudor monarchs in internationalizing the royal musical establishment and setting an example of considerable import for more widespread English artistic developments. By bringing together the evidence concerning Anglo-continental musical relations for the first time, along with new documents and interpretations concerning musicians, music manuscripts and theory sources, the investigation paves the way for a new evaluation of English musical styles in the first half of the sixteenth century.

A first-hand perspective on Henry VIII’s court and relationships

The six-book bosed set of the bestselling Tudor Court novels by Philippa Gregory, #1 New York Times bestselling author and "the queen of royal fiction" (USA TODAY): The Constant Princess, The Other Boleyn Girl, The Boleyn Inheritance, The Queen's Fool, The Virgin's Lover, and The Other Queen.

The Tudor court was at once the political and cultural focus of the state and the setting for the monarch, who there exercised his or her patronage and attracted and rewarded service of all kinds. The author has written the first general account of this important and glamorous institution, whose structure, operation, and financing are of such fundamental importance in understanding how the Tudor monarchy worked. The Tudors were personal rulers, who set great store by their honour and prestige. Henry VIII and Elizabeth were particularly adept in creating powerful images for themselves, through court display and patronage, which contributed greatly to their authority at home and status abroad. In the sphere of domestic politics the role of the court was vital in providing a channel of access to the royal person. At the same time, the court's central position in the life of the nation ensured that it set the pace, not only socially and in the arts, but in religious and educational change. Using extensive quotations from contemporary sources, the author builds up a vivid picture of this amorphous, constantly changing entity and its evolution over the period into the most stable and organised royal household in Europe after the papacy. -- from Book Jacket.

"Campbell sheds light on Tudor political and artistic culture and the court's response to Renaissance aesthetic ideals. He challenges the predominantly text-driven histories of the period and offers a fresh perspective on the life of Henry VIII"--OCLC