By Laura Lee Guhrke
"**A Royal Pain...**
The illegitimate daughter of a prince and a infamous courtesan, Lucia has been restricted to colleges and convents for many of her lifestyles. yet that hasn't stopped her from inflicting one scandal after one other. Exasperated, her royal father comes to a decision that his beautiful hellion of a daughter has to be married instantly. And Sir Ian Moore, Britain's such a lot right diplomat, is the fitting guy to decide on her a groom.
Diplomacy, no longer matchmaker, is Ian's uniqueness, yet he vows to get Lucia married off once attainable in order that he may perhaps go back to his genuine tasks. but, regardless of an abundance of very keen, beneficial applicants, none is a fit for Lucia's spirit and fireplace. And the extra time Ian spends with the infuriating attractiveness, the extra reluctant he's to marry her off. might or not it's that he has already came across Lucia the ideal husband...and it's Ian himself?
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Additional resources for She's No Princess (Guilty, Book 4)
14. Chibnall, ‘The sources used by William of Poitiers’ (Davis and Chibnall 1998: xxi, xxxi). 15. See Partner (1977: esp. 1-8); Damian-Grint (1999a: 85, 147). 16. , Lodge (1990); Partner (1977: esp. 183-93). 17. See Damian-Grint (1999b: 349-67, esp. 353-58). See also the discussion of the word gloser in Möhren (1997: 139). 18. Chronique 27219-35 (the whole episode takes lines 27197-466). 19. At a very rough estimate, Benoît’s Chronique is over six times as long as its Latin originals. 20. For these topoi see Damian-Grint (1999a): purpose of history (94-98), praise of material (1035), and industria (123-31).
Their impaled arms on a couched shield, are woven into the upper border, and supported by an angel in flight in the centre of the lower border. 30. See fols. 25, 44v, 101v, 117, 128 (Poitiers), 176v and 182. 31. I hope to publish a study of the heraldry of this manuscript, and to identify successfully all of the banners displayed in the borders and miniatures, which refer to the protagonists present at Crécy and Poitiers, but also at skirmishes which we would today regard as of lesser significance.
Villela-Petit, Ines (2004). ’ Paris 1400, Les arts sous Charles VI. Paris: Arthème Fayard. 371-73. Acknowledgements The author, editors and publisher express their gratitude to the following institutions and their librarians for kind permission to reproduce photographs from manuscripts in their collections: Bibliothèque nationale de France Bibliothèque d’Étude et de Conservation, Besançon Pierpont Morgan Library, New York Stonyhurst College Library, Lancashire Bibliothèque d’Étude et du Patrimoine, Toulouse The British Library All photographs from the Bibliothèque nationale de France, the British Library, the Morgan Library and the Bibliothèque d’Étude et du Patrimoine, Toulouse are © of those institutions.