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By Meredith Duran

"*In a debut romance as passionate and sweeping because the British Empire, Meredith Duran paints a robust photograph of an aristocrat torn among worlds, an heiress who dares to possibility everything...and the affection born in hearth and darkness that just about destroys them.*

*From unique sandstone palaces...*

Sick of tragedy, performed with uprising, Emmaline Martin vows to settle quietly into British Indian society. but if the pillars of privilege topple, her fiancé's betrayal leaves Emma no selection. She needs to flip for aid to the only guy whom she are usually not belief, yet can't withstand: Julian Sinclair, the damaging and marvelous inheritor to the Duke of Auburn.

*To the marble halls of London...*

In London, they toast Sinclair with champagne. In India, they name him a traitor. Cynical and impatient with either worlds, Julian hasn't ever imagined that where he may perhaps belong is within the include of a lady with a reluctant chortle and haunted eyes. yet in a time of negative darkness, he and Emma will realize that love itself might be perilous -- and unmarried choice can regulate one's lifestyles endlessly.

*Destiny follows at any place you run.*

A life of grief later, in a chilly London spring, Emma and Julian needs to ultimately confront the reality: regardless of how tough one attempts to disclaim it, a few pasts can't be disowned...and a few passions by no means die.

**
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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.

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