By Suzanne Enoch
"**Seven marriageable daughters . . . And Lord Zachary Griffin is simply the guy to assist them.**
After all, what should be extra tantalizing than instructing the attractive Witfeld sisters the entire distinct methods of riding a guy into submission—and marriage? And prime beautiful Caroline Witfeld, the main lively and least frivolous sister, to temptation will be wildly scrumptious.
Zachary doesn't detect that Caroline's longing gazes have much less to do with charm and extra to do with admission—to a prestigious arts conservatory. If merely she may set these excessive cheekbones, that aristocratic forehead, and people robust shoulders to canvas, her desires could all come real. yet Caroline is quickly having desires of a truly assorted sort—ones that contain the fascinating rogue and a few wrong habit infrequently befitting a girl devoted to her paintings . . .unless she turns into devoted to the paintings of love.
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Extra info for An Invitation to Sin (Griffin Family, Book 2)
The aim which he enunciates most clearly is that of the didactic function of history-writing, which he explains in terms of the figure of the exemplum – in Old French, essample. Benoît leaves his audience under no illusions as to the key importance, in his eyes, of the function of essample in historiography. The first section of his Chronique consists of a background history of the Danish invasions of Europe (and appears to be included more because it is in the Latin sources than because Benoît feels it belongs in his estoire); the history of the dukes proper begins with a new proemium, and it is here that Benoît introduces many of the standard elements which his audience would have expected in the prologue to a work of historiography (and which do not in fact appear in the proemium to the first section).
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.
Besançon, MS 864, fol. 159v Representing Royalty in Some Manuscripts of Froissart’s Chroniques 31 Fig. 12. 804, fol. 128r 32 Peter Ainsworth Fig. 13. Toulouse, Bibl. du Patrimoine, MS 511, fol. 128r Fig. 14. Paris, BnF fr 2662, fol. 196v (detail) Representing Royalty in Some Manuscripts of Froissart’s Chroniques 33 Fig. 15. i, fol. 144r (detail) 34 Peter Ainsworth Fig. 16. i, fol. 341v (detail) Representing Royalty in Some Manuscripts of Froissart’s Chroniques 35 Fig. 17. ii, fol. 1r 36 Peter Ainsworth Fig.