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The name of Maximus the Confessor is closely linked with Georgia: after the church father was exiled from Byzantium in 662 with two of his disciples, he spent his last days in Lazica, Western Georgia, and died there. Despite the abundant scholarly literature in Georgian about Maximus, international scholarly circles have been largely unaware of the Old Georgian translations of his works, made during the tenth-twelfth centuries, and local ethnographic and folklore materials. These form a rich source for the study of Maximus' literary heritage and life, particularly the final period of his life after his deportation, as well as shedding light on the links between between Georgia and Byzantium. This volume gathers the results of decades of research, most of which appears for the first time in English translation. The articles concentrate on the Georgian sources that deal with Maximus' life and literary legacy, creating a collection that will be of value not only for those studying Maximus' life and works but also for those who are interested in Georgian culture and history in general. 10 colour illustrations, 18 B&W illustrations and maps.

Maximus, --- Caucasus --- History --- Maximus Confessor --- Maximus --- Maxime le Confesseur --- Maximus der Bekenner --- Maximus the Confessor --- Massimo il Confessore --- Maksim Ispovednik --- Maksim Spoznavalec --- Maximos Homologetes --- Maxim Mărturisitorul --- Hagios Maximos, --- Maksim, --- Makʻsime Aġmsarebeli, --- Massimo Confessore, --- Massimo il Confessore, --- Maxim, --- Maxime le Confesseur, --- Maximos Confessor, --- Maximos, --- Maximos ho Gkraikos, --- Maximos ho Homologētēs, --- Maximus Confessor, --- Maximus of Constantinople, --- Sfântul Maxim, --- Géorgie --- Maximus, - Confessor, Saint, - approximately 580-662 --- Caucasus - History

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Cardinals occupied a unique place in the world of early modern Europe, their distinctive red hats the visible signs not only of impressive careers at the highest rank the pope could bestow, but also of their high social status and political influence on an international scale. Appointed for life, these princes of the Church played a key role in the dramatic events of a period in which both the power and the authority of the papacy were challenged. Cardinals crossed the ambiguous boundaries then existing between religious and secular power. Granted unparalleled access to Church and private property, they spent considerable time, money, and effort on making the best collections of art and antiquities. Some commissioned artworks in churches that advertised their monastic or national connections, while others took Rome and the papacy abroad to enrich their own cities and countries. But theirs was a precarious dignity: while cardinals could thrive during one papacy, they could suddenly fall from power during the next. The new research represented by the sixteen case studies in The Possessions of a Cardinal reveals how cardinals used their vulnerable position and spent their often substantial wealth on personal and religious interests. As a result, the tensions inherent in their position between the spiritual and the worldly are underscored.

Art --- patronage --- collecting, Italy --- cardinals [prelates] --- John II Casimir --- Farnese, Odoardo --- Piccolomini, Francesco Todeschini --- Medici, de', Giovanni --- Barberini, Antonio --- Massimo, Camillo --- Guillaume d'Estouteville --- Rangone, Gabriele --- Carafa, Oliviero --- Dovizi da Bibbiena, Bernardo --- Borromeo, Charles --- Patrizi [Family] --- Este, d', Ippolito --- Clement VII [Pope] --- Borromeo, Federico --- Italy

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Iconography --- Art --- Feldmann, Hans-Peter --- Starling, Simon --- Mir, Aleksandra --- Macuga, Goshka --- Gowda, Sheela --- Håfström, Jan --- Chan, Paul --- Pisano, Falke --- Gyatso, Gonkar --- Barba, Rosa --- Toderi, Grazia --- Khedoori, Toba --- Saraceno, Tomás --- Bartolini, Massimo --- Zamora, Héctor --- White, Pae --- Chen, Zhen --- Huang, Yong Ping --- Ono, Yoko --- Parreno, Philippe --- Tayou, Pascale Marthine --- Wentworth, Richard --- Friedman, Yona --- Abboud, Jumana Emil --- Adéagbo, Georges --- Berti, Simone --- Bestué/Vives --- Bouchet, Mike --- Chopra, Nikhil --- Chu Yun --- Conrad, Tony --- Cuoghi, Roberto --- Cytter, Keren --- Dodiya, Anju --- Elagina, Elena --- Favaretto, Lara --- Finch, Spencer --- Pistoletto, Michelangelo --- Gawde, Sunil --- Grcic, Tamara --- Guyton, Wade --- Yang, Haegue --- Haloba, Anawana --- Hecker, Florian --- Hefuna, Susan --- July, Miranda --- Khedoori, Rachel --- Koo Jeong-a --- Langa, Moshekwa --- Lindsay, Arto --- Lucas, Renata --- Makarevich, Igor --- Otero-Pailos, Jorge --- Pape, Lygia --- Parkina, Anna --- Poomtangon, Att --- Ramo, Sara --- Roccasalva, Pietro --- Simon, Amy --- Tian Tian Wang --- Brandenburg, von, Ulla --- Vriesendorp, Madelon --- Walker, Kelley --- Xu Tan --- Zholud, Anya --- Forsythe, William --- Jonas, Joan --- Meireles, Cildo --- Tillmans, Wolfgang --- Bayrle, Thomas --- Gilbert and George --- Levine, Sherrie --- Pepperstein, Pawel --- Tiravanija, Rirkrit --- Höller, Carsten --- Baldessari, John --- Cadere, André --- Dominicis, de, Gino --- Fahlstrom, Öyvind --- Floyer, Ceal --- Palermo, Blinky --- Pessoli, Alessandro --- Potrč, Marjetica --- Rehberger, Tobias --- Evans, Cerith Wyn --- Gonzalez-Foerster, Dominique --- Harrison, Rachel --- Matta-Clark, Gordon --- Djurberg, Nathalie --- Moscow Poetry Club --- Gutai Group --- anno 1900-1999 --- anno 2000-2099