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By Diana Preston

On a stiflingly sizzling day in August, 30 B.C., the thirty-nine-year-old Queen of Egypt, Cleopatra, took her personal lifestyles, instead of be paraded in chains via Rome through her conqueror, Octavian, the long run emperor Augustus. a couple of days prior, her lover of 11 years, Mark Antony, had died in her hands following his personal botched suicide test. Oceans of mythology have grown up round them, all of which Diana Preston places to leisure in her stirring heritage of the lives and instances of a pair whose names―more than millennia later―still invoke ardour, interest, and intrigue.
This e-book units the romance and tragedy of Antony and Cleopatra's own lives in the context in their political occasions. there are various modern resonances: the connection among East and West and the character of empire, the concealment of private ambition underneath the watchword of liberty, files cast, edited or disposed of, specific relationships confirmed, constitutional varieties and felony niceties invoked whilst it ideal. certainly their lives and deaths had deep political ramifications, and so they supply a revealing standpoint on a tipping element in Roman politics and at the consolidation of the Roman Empire. 300 years could cross prior to the east could, with the increase of Constantinople and the Byzantine Empire, once more take a proportion of political strength within the Mediterranean. In an interesting postscript, Preston speculates on what may need occurred had Antony and Cleopatra defeated Octavian on the conflict of Actium in 31 B.C.

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Extra info for Cleopatra and Antony: Power, Love, and Politics in the Ancient World

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They liked furniture upon which much time and labour had evidently 57 37. Cabbage and Vine, 1897. First tapestry designed by Morris also known as Acanthus and Vine. Kelmscott Manor, Oxfordshire. 60 61 The Early Years, A Promising Future been spent, because it was costly; but they never asked themselves whether the time and labour had been spent in making the furniture ugly, for they did not wish to enjoy the furniture but only their awareness that they were able to pay for it. For those who were not rich art was employed to give the illusion that they were rich.

Asked we. ’” Then Morris read them The Willow and the Red Cliff, the first poem he had ever written in his life. Dixon expressed his admiration and Morris replied, “Well, if this is poetry, it is very easy 21. Little Flowers. ” “From that time onward,” says Dixon, “for a term or two, he came to my rooms Pattern for chintz. ” Victoria & Albert Museum, London. 37 22. Edward Burne-Jones, William Morris and John Henry Dearle (for the design) and Morris & Co. (for the production), Holy Grail Tapestry – Quest for the Holy Grail Tapestries – The Arming and Departure of the Knights (II), 1895-1896.

An old house and old furniture would not content him, because he desired an art of his own time and was eager to produce it himself. He therefore bought a piece of orchard and meadow on Bexley Heath in Kent, above the valley of the Cray; and there Philip Webb, who had just set up as an architect on his own account, built a house for him. Though the arts do not flourish now, it is difficult to remember or imagine their desperate condition in 1860. At the time, nearly all building was subject to a single principle; and that was as wrong as it could be, for it was the principle of disguise.

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