By Anna J. McIntyre
The start of the Coulson Empire, 1918: Mary Ellen’s father didn’t alternate her for a house–exactly. Marrying the rich and good-looking Randall Coulson isn't really anything Mary Ellen desires to do, yet being the obedient daughter she consents to the wedding. Randall Coulson wishes Mary Ellen for one reason–to provide him sons. He has no wish to shape a bond of affection or friendship together with his younger bride. His personal center is already taken. A bittersweet tale of affection, lies and kin secrets and techniques, happening in the course of a turbulent interval of yank background, whilst the notion of girls and their position in society replaced in a single woman’s lifetime.
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The second Jocelyn Renwick glimpses her family's stolen heirlooms within the ownership of a filthy rich earl, she calls for their go back. He dismissively insists they’ve been in his kinfolk for generations, and she or he privately vows to get them again at any price. however the law-abiding Lord Carlyle foils her plans, and she or he reluctantly companions with him to unravel the robbery of her estate. once they realize the earl is as much as his ears in legal acts, he threatens to hyperlink Daniel to his gang of thieves. Jocelyn needs to come to a decision if justice for her relations is worthy risking an opportunity at love.
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After years in a foreign country, Robert, Duke of Dovedale, has again to England to avenge the homicide of his mentor. To discover the murderer's identification, he needs to infiltrate the notorious, mystery Hellfire membership. however the Duke has no concept that an excellent more challenging problem awaits him-in a improper, romantic-minded younger woman.
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Additional info for Coulson's Wife (The Coulson Series, Book 1)
It is not simply the occasional details: columns decorated plaster made when fresh decorative schemes with bows of ribbon; architectural arcades and cornices of Pompeian in the solidity giving depth to the background; landscape which though picture of the Announcement to the Shepherds for example summarily sketched, is still very effective; but far more the treatment — — THE NORTHUMBRIAN RENAISSANCE 29 of the figures, the rounded forms, the light and shade in faces and hands, the effective use of high hghts, above all the masterly assurance of the whole, that take us back to antiquity.
With the descendants of the Northumbrian style in lona or Ireland, particularly in the Book of Kells, elaborate narrative is occasionally attempted, here no doubt also as a result of classical, or eastern influence, not as an indigenous growth; but that narrative becomes rather a posed tableau, hieratic and symbolic. It is not possible to show a precise original for the miniature of the Temptation (55a), though some details, like the flying angel with its straight square undercarriage and square wings, may descend ultimately from Codex Amiatinus or its source.
It is in fact hard to resist the argument, now widely accepted, that the Bewcastle cross, with its inscription to Alchfrith and his wife Cyneburg, must have been made before 710, and might have been made twenty years earlier. And if, in the Castel Seprio paintings (59a, b), classical painting seems to have come alive again, so in a sense does classical sculpture in the Ruthwell cross (50). The way in which this shows itself most notably is that the sculptor is not content to work simply on two planes, but works in the round.