What do you think?
Rate this book
The Miracles of Prato
“Like Fra Filippo’s paintings, this love story, set in one of the most intriguing historical periods, is suffused with clear, warm color and fine attention to detail.” —Debra Dean, author of TheMadonnas of Leningrad
A vibrant and enthralling historical novel about art and passion, The Miracles of Prato by Laurie Albanese and Laura Morowitz brings Italy in the era of the Medici to glorious life—as it tells the story of an illicit love affair between the renowned painter Fra Filippo Lippi and his muse, a beautiful convent novitiate. A magnificent blend of fact, historical color, emotion, and invention, The Miracles of Prato is a novel that will delight the many fans of Tracy Chavalier’s Girl with a Pearl Earring and Susan Vreeland’s Girl in Hyacinth Blue.
A vibrant and enthralling historical novel about art and passion, The Miracles of Prato by Laurie Albanese and Laura Morowitz brings Italy in the era of the Medici to glorious life—as it tells the story of an illicit love affair between the renowned painter Fra Filippo Lippi and his muse, a beautiful convent novitiate. A magnificent blend of fact, historical color, emotion, and invention, The Miracles of Prato is a novel that will delight the many fans of Tracy Chavalier’s Girl with a Pearl Earring and Susan Vreeland’s Girl in Hyacinth Blue.
402 pages, Kindle Edition
First published January 6, 2009
103 people are currently reading
2563 people want to read
About the author
Laurie Lico Albanese
10 books907 followersI'm so excited to share my newest novel, HESTER, with you. This is a prequel and a retelling of Hawthorne's classic novel THE SCARLET LETTER, in which he links female passion and shame. My HESTER is Isobel Gamble, a young Scottish seamstress new to Salem in 1829, who falls in love with aspiring writer Nat Hawthorne and inspires his first novel.
I'm also the author of STOLEN BEAUTY, a novel about love, art, courage and war that illuminates the intimate lives of two remarkable Viennese women whose fates and awakenings are bound by Gustav Klimt and his golden portrait of Adele Bloch-Bauer.
Thanks for visiting and for reading.
WARNING: READING CAUSES EMPATHY. It's a fact.
HESTER
A Novel
Coming October 4, 2022 from St. Martin's Press
973-477-3891
https://linktr.ee/laurielicoalbanese
I'm also the author of STOLEN BEAUTY, a novel about love, art, courage and war that illuminates the intimate lives of two remarkable Viennese women whose fates and awakenings are bound by Gustav Klimt and his golden portrait of Adele Bloch-Bauer.
Thanks for visiting and for reading.
WARNING: READING CAUSES EMPATHY. It's a fact.
HESTER
A Novel
Coming October 4, 2022 from St. Martin's Press
973-477-3891
https://linktr.ee/laurielicoalbanese
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 96 reviews
May 21, 2018
Set during the year of 1456 of the Italian Renaissance and based on true characters. This is a story of beautiful Lucrezia Buti, daughter of silk merchant of Florence and Fra Filippo Lippi, a monk and an accomplished artist.
Lucrezia Buti arrives with her sister at the Convent Santa Margherita in Prato due to diminished circumstances. At the same convent, a monk, who acts as chaplain to the nuns, is also a great artist named Fra Filippo Lippi, famed for his portraits of Madonnas. He keeps searching for “a face worthy of the Virgin.” One morning as he enters the chapel, he sees unfamiliar figure kneeling at the altar. He notices her perfect face features.
Both lives of Lucrezia and Fra Filippo are beautifully revealed in layers. Human emotions come alive. Hunger for a life outside the convent brings those two closer and closer. She questions, “Why does God ask me for devotion and sacrifice without showing me the way?” She misses her pearl baptism bracelet and her mother’s blue pitcher. He, “An impetuous man, he’d been jailed, whipped, and endured stinging shame for acts of lust, greed, and temptation.” They both search for a meaning in it all. He in his art of painting. She in the art of herbs.
The book is vividly written. I always appreciate authors who search for unexplored artists and bring them to life. It also brings the subject of the Sacred Belt, “believed to be a miraculous relic of the Virgin Mary, has been housed in the locked chapel in the Cathedral of Santo Stefano in Prato, Italy, since the thirteen century. It is presented to the public several times a year.”
“At the time of his meeting with Lucrezia Buti, Fra Filippo Lippi was a successful artist with many outstanding commitments and a record of legal problems.” The legal problems seemed to be following him his whole life.
@FB/BestHistoricalFiction
Lucrezia Buti arrives with her sister at the Convent Santa Margherita in Prato due to diminished circumstances. At the same convent, a monk, who acts as chaplain to the nuns, is also a great artist named Fra Filippo Lippi, famed for his portraits of Madonnas. He keeps searching for “a face worthy of the Virgin.” One morning as he enters the chapel, he sees unfamiliar figure kneeling at the altar. He notices her perfect face features.
Both lives of Lucrezia and Fra Filippo are beautifully revealed in layers. Human emotions come alive. Hunger for a life outside the convent brings those two closer and closer. She questions, “Why does God ask me for devotion and sacrifice without showing me the way?” She misses her pearl baptism bracelet and her mother’s blue pitcher. He, “An impetuous man, he’d been jailed, whipped, and endured stinging shame for acts of lust, greed, and temptation.” They both search for a meaning in it all. He in his art of painting. She in the art of herbs.
The book is vividly written. I always appreciate authors who search for unexplored artists and bring them to life. It also brings the subject of the Sacred Belt, “believed to be a miraculous relic of the Virgin Mary, has been housed in the locked chapel in the Cathedral of Santo Stefano in Prato, Italy, since the thirteen century. It is presented to the public several times a year.”
“At the time of his meeting with Lucrezia Buti, Fra Filippo Lippi was a successful artist with many outstanding commitments and a record of legal problems.” The legal problems seemed to be following him his whole life.
@FB/BestHistoricalFiction
December 26, 2011
The Renaissance is famous for its contributions to the artistic world, and of the many artists who populate its annals few are as controversial as Fra Filippo Lippi, the Carmelite monk whose glorious paintings rivaled his reputation as a womanizer and whose frequent inability to complete his commissions on time enraged his patrons. Perhaps one of the most scandalous events attached to Lippi's reputation, however, is his liaison with Lucrezia Buti, an impoverished young woman who joined the convent where Lippi worked and who became his muse and mistress.
Forbidden love between a cleric and an innocent has always been irresistible fuel for romantic fiction, and the authors of The Miracle of Prato attempt to make full use of it in their compelling but often tame account. The novel is at its best when depicting the panoply and intrigue of the Renaissance, as well as the machinations of the Church and the details of painting, from the preparation of canvas to the mixing of colors. And while Fra Filippo's notorious sexual appetite and temperament are downplayed for the modern sensibility, we still get a strong glimpse into the combination of power and helplessness that artists commanded in an era where art was most valued as a promotional tool to promulgate status.
Nevertheless, Lucrezia's innocence becomes cloying as the novel progresses; despite her physical beauty and devotion, it becomes increasingly difficult to imagine her holding the interest of a man of Fra Filippo's fiery genuis for as long as she does. Indeed, their romance is treated with such white-glove care that we never get a true sense of the searing passion that leads them into the predicament they eventually face. Secondary characters, like the Prioress, prove more interesting and complex, though the unfavorable depiction of the book's sole homosexual character is both unnecessary and regrettable. Nevertheless, the novel conveys a fine sense of the period and is written with an authoritative grasp of the importance of art in an often quixotic age.
Forbidden love between a cleric and an innocent has always been irresistible fuel for romantic fiction, and the authors of The Miracle of Prato attempt to make full use of it in their compelling but often tame account. The novel is at its best when depicting the panoply and intrigue of the Renaissance, as well as the machinations of the Church and the details of painting, from the preparation of canvas to the mixing of colors. And while Fra Filippo's notorious sexual appetite and temperament are downplayed for the modern sensibility, we still get a strong glimpse into the combination of power and helplessness that artists commanded in an era where art was most valued as a promotional tool to promulgate status.
Nevertheless, Lucrezia's innocence becomes cloying as the novel progresses; despite her physical beauty and devotion, it becomes increasingly difficult to imagine her holding the interest of a man of Fra Filippo's fiery genuis for as long as she does. Indeed, their romance is treated with such white-glove care that we never get a true sense of the searing passion that leads them into the predicament they eventually face. Secondary characters, like the Prioress, prove more interesting and complex, though the unfavorable depiction of the book's sole homosexual character is both unnecessary and regrettable. Nevertheless, the novel conveys a fine sense of the period and is written with an authoritative grasp of the importance of art in an often quixotic age.
September 11, 2016
Fra Filippo Lippi proclaimed that "God made the world beautiful, and there is no shame in celebrating that beauty. The world is simply a mirror of the Lord's kingdom." It is these words that Lippi uses to embolden a young novitiate, Lucrezia, as she drudges through daily tasks in the garden and infirmary, work to which her noble hands and mind are not accustomed. If one researches Lippi's paintings, it's easily evident the inspiration her melancholy had on his drawings. She's really quite a lovely girl, and from the first moment of meeting smiles and looks are exchanged between the two. Lippi uses discussions of color mixing and art alchemy to peek Lucrezia's interest in the works outside of the convent, where color and shape take root, leading to one of the most touching scenes in the book. However, by this time they are fighting passions, both carnal and material, which is against their vows to the church. Lucrezia is sustained through the magic of Lippi's paintbrush. The thought of losing it makes her ill, and soon they feel the same way about each other.
But as much as Lippi wants to imbue her world in brilliant hues and silken luxuries, there are others who see her gorgeous facade as temptation to evil, a test against sin. And he loses. Lucrezia suffers what I think is the most inhuman injustices against women because he is a lecherous fool. Lippi returns too late to rescue her, but does the next best thing; he professes her innocence and his unwavering love. Lippi is her fierce knight wanting only to protect her honor and see her loved body and soul regardless of what life has thrown at her, and he is willing to turn his life upside down to do it. She is scared and ashamed but loves him for his strength and goodness. She then becomes a local curiosity in Prado as she and Lippi live a fairy story. But when she is suddenly most in need of a friend the sisters of Santa Margherita reproach her and use her as a pawn. The bitterness expressed left me speechless. The prioress is too obsessed with her own greatness and reprimands Lucrezia for allowing blessings to go to her head, the exact same sin the prioress could be accused of, not to mention the priors who are too busy selling dispensations and committing sodomy in the tabernacles.
It's fulfilling to note the author's text at the end of the story to learn how all of the players ended their lives. The relationship between Lippi and Lucrezia was most certainly a tangled web.
But as much as Lippi wants to imbue her world in brilliant hues and silken luxuries, there are others who see her gorgeous facade as temptation to evil, a test against sin. And he loses. Lucrezia suffers what I think is the most inhuman injustices against women because he is a lecherous fool. Lippi returns too late to rescue her, but does the next best thing; he professes her innocence and his unwavering love. Lippi is her fierce knight wanting only to protect her honor and see her loved body and soul regardless of what life has thrown at her, and he is willing to turn his life upside down to do it. She is scared and ashamed but loves him for his strength and goodness. She then becomes a local curiosity in Prado as she and Lippi live a fairy story. But when she is suddenly most in need of a friend the sisters of Santa Margherita reproach her and use her as a pawn. The bitterness expressed left me speechless. The prioress is too obsessed with her own greatness and reprimands Lucrezia for allowing blessings to go to her head, the exact same sin the prioress could be accused of, not to mention the priors who are too busy selling dispensations and committing sodomy in the tabernacles.
It's fulfilling to note the author's text at the end of the story to learn how all of the players ended their lives. The relationship between Lippi and Lucrezia was most certainly a tangled web.
January 1, 2019
Un libro amable pero tampoco para tirar cohetes. Más invento que realidad.
May 4, 2009
This novel combines all of my favorite subjects: art, women in history, romance, excellent characterization, beautifully written prose, captivating story line. Highly recommended especially to those interested in these subjects or just a really goodread!
July 19, 2016
Uncomfortable read for a long time. Predictable damsel in distress with the unfortunately usual unsavory things happening to her. This woman's predicament set in a detailed and presumably authentic historical background of medieval Tuscany and the life of famous artist Fllippo Lippi. The plot consists of the reader waiting chapter after chapter for the unhappy events to unfold as life in those times is portrayed
Also I have an aversion to liberal sprinkling of foreign words and phrases--in this case Italian and sometimes Latin--with insufficient contextual explanation. An occasional somewhat familiar ethnic word here and there in a book lends authentic flavor, but these two authoresses have cooked up an overwhelming and unknown batch of them. I was hoping the main characters would eventually experience the book title's promised "Miracles of Prato."but they were long in coming and predictable, although I will admit as miraculous as they were improbable.
Still, the novelis accurately researched true to the period and it's major characters. It is straightforwardly told and comes to an old fashioned satisfyingly happy ending. I come away wanting to someday see the work of fra Filippo Lippi and the places he lived when my wife and I, both painters ourselves, visit Italy. A book can do far less than that for a reader.
Also I have an aversion to liberal sprinkling of foreign words and phrases--in this case Italian and sometimes Latin--with insufficient contextual explanation. An occasional somewhat familiar ethnic word here and there in a book lends authentic flavor, but these two authoresses have cooked up an overwhelming and unknown batch of them. I was hoping the main characters would eventually experience the book title's promised "Miracles of Prato."but they were long in coming and predictable, although I will admit as miraculous as they were improbable.
Still, the novelis accurately researched true to the period and it's major characters. It is straightforwardly told and comes to an old fashioned satisfyingly happy ending. I come away wanting to someday see the work of fra Filippo Lippi and the places he lived when my wife and I, both painters ourselves, visit Italy. A book can do far less than that for a reader.
February 20, 2009
I enjoyed this book very much. I probably would not have read it but someone recommended it to me & I am glad they did.
It was a love story/historical fiction but not a romance novel....I loved reading about the artwork that the painter was doing. (Now I have some research to do)
There seemed to be a need for lots of personal gain & recognition & because of this & some other deceit, innocent people were hurt....
It was a love story/historical fiction but not a romance novel....I loved reading about the artwork that the painter was doing. (Now I have some research to do)
There seemed to be a need for lots of personal gain & recognition & because of this & some other deceit, innocent people were hurt....
August 28, 2019
It's hard for me to believe that half of this novel was written by the same author who wrote Stolen Beauty, a book I loved. The book came off as flat and amateurish, and simply felt like it was written by someone else.
What makes it worse is that it takes the two main historical characters were portrayed terribly. They were made to be little more than high school lovers, and I can tell you with just a google search they weren't. It's not a surprise that this book has taken me a while to finish. I guess when it comes to the theme of reading about an artist and their work, I prefer the work as the artist (or rather the author) takes to many liberties and just makes it uninteresting for me.
May 12, 2018
I barely made it through the meanness and arrogance of mid-Renaissance Roman Catholicism. I think I was hoping for something like The Girl with the Pearl, but that's not what this is. Artists' lives, it seems, are always crazy -- is it that craziness that feeds the creativity? I hope not. The two New Jersey Laurs that put this book together obviously did their homework, but despite the verisimilitude, it never came alive for me.
November 12, 2019
Me ha gustado bastante. Es ligero y fácil de leer, aunque la trama no es tan interesante que no puedas dejar de leer, no se hace lento ni pesado. No profundiza en exceso en temas principales como el amor o la religión, pero me ha parecido muy agradable ir leyendo y que el arte sea tan relevante en la historia que cuentan las autoras. Si me hubiera enganchado un poco más, se llevaría sin duda 4 estrellas.
February 7, 2016
Drawn from the world of Renaissance Italy, this historical fiction captures the lives and romance of painter Fra Filippo Lippi and his muse, Lucrezia Buti. This is no ordinary relationship, however, Fra Lippi is a Carmelite monk and Lucrezia is a noviate living in the Convent of Santa Margherita in Prato, Italy, where Fra Filippo serves as chaplain when he can tear himself away from his paints.
Perfectly captured by authors Albanese and Morowitz (an art historian) are the struggles of the times: the domination of the Catholic Church, the sponsorship of artists by rich merchants from Florence and Venice, the inability of women to assert control over their lives--all forces that exact a price from the lives of individuals living in this time. The story is even more poignant because neither Lippi nor Buti had an alternative to taking on their roles in the religious community.
Buti and her sister come to convent upon the death of their father, and it is there that Fra Filippo Lippi first realizes his ideal model for the Madonna, the beautiful Lucrezia. Her role as model is heightened by the importance of Lippi’s commissioned altar piece, a gift to be used by Cosimo de Medici in negotiations between powerful Italian states. This highly irregular practice of modeling by a nun is facilitated by powerful forces within the Church, but everyone has a price to exact, from the head of the Convent on up.
Things begin to go terribly wrong when Fra Lippi’s reputation with women begins to rub off on Lucrezia, and she is ultimately compromised by the Prior General who wrongly assumes she has given herself to the monk. Lippi pledges to protect Lucrezia, but this means disengagement from the Church, which requires a decree from Rome amidst the circumstances of a dying Pope.
Based on true events, this novel is most engaging in helping readers understand what life in Renaissance Italy was like and in detailing the overwhelming control of daily events by the Catholic Church, even for those who did not serve in a religious capacity. Interesting too is the political milieu of the times and the way in which the Church and the merchant class intertwined to join forces to make the most of available power and status. Indeed, it takes a miracle to cement the relationship between Fra Lippi and Lucrezia Buti, but the results are still apparent today in works that hang in museums and churches around the world.
Merged review:
Drawn from the world of Renaissance Italy, “The Miracles of Prato” is historical fiction that captures the lives and romance of painter Fra Filippo Lippi and his muse, Lucrezia Buti. This is no ordinary relationship, however, because Fra Lippi is a Carmelite monk and Lucrezia is a noviate living in the Convent of Santa Margherita in Prato, Italy, where Fra Filippo serves as chaplain when he can tear himself away from his paints.
Perfectly captured by authors Albanese and Morowitz (an art historian) are the struggles of the times: the domination of the Catholic Church, the sponsorship of artists by rich merchants from Florence and Venice, the inability of women to assert control over their lives-all forces that exact a price from the lives of individuals living in this time. The story is even more poignant because neither Lippi nor Buti had an alternative to taking on their roles in the religious community.
Buti and her sister come to convent upon the death of their father, and it is there that Fra Filippo Lippi first realizes his ideal model for the Madonna, the beautiful Lucrezia. Her role as model is heightened by the importance of Lippi’s commissioned altar piece, a gift to be used by Cosimo de Medici in negotiations between powerful Italian states. This highly irregular practice of modeling by a nun is facilitated by powerful forces within the Church, but everyone has a price to exact, from the head of the Convent on up.
Things begin to go terribly wrong when Fra Lippi’s reputation with women begins to rub off on Lucrezia, and she is ultimately compromised by the Prior General who wrongly assumes she has given herself to the monk. Lippi pledges to protect Lucrezia, but this means disengagement from the Church, which requires a decree from Rome amidst the circumstances of a dying Pope.
Based on true events, this novel is most engaging in helping readers understand what life in Renaissance Italy was like and in detailing the overwhelming control of daily events by the Catholic Church, even for those who did not serve in a religious capacity. Interesting too is the political milieu of the times and the way in which the Church and the merchant class intertwined to join forces to make the most of available power and status. Indeed, it takes a miracle to cement the relationship between Fra Lippi and Lucrezia Buti, but the results are still apparent today in works that hang in museums and churches around the world.
Perfectly captured by authors Albanese and Morowitz (an art historian) are the struggles of the times: the domination of the Catholic Church, the sponsorship of artists by rich merchants from Florence and Venice, the inability of women to assert control over their lives--all forces that exact a price from the lives of individuals living in this time. The story is even more poignant because neither Lippi nor Buti had an alternative to taking on their roles in the religious community.
Buti and her sister come to convent upon the death of their father, and it is there that Fra Filippo Lippi first realizes his ideal model for the Madonna, the beautiful Lucrezia. Her role as model is heightened by the importance of Lippi’s commissioned altar piece, a gift to be used by Cosimo de Medici in negotiations between powerful Italian states. This highly irregular practice of modeling by a nun is facilitated by powerful forces within the Church, but everyone has a price to exact, from the head of the Convent on up.
Things begin to go terribly wrong when Fra Lippi’s reputation with women begins to rub off on Lucrezia, and she is ultimately compromised by the Prior General who wrongly assumes she has given herself to the monk. Lippi pledges to protect Lucrezia, but this means disengagement from the Church, which requires a decree from Rome amidst the circumstances of a dying Pope.
Based on true events, this novel is most engaging in helping readers understand what life in Renaissance Italy was like and in detailing the overwhelming control of daily events by the Catholic Church, even for those who did not serve in a religious capacity. Interesting too is the political milieu of the times and the way in which the Church and the merchant class intertwined to join forces to make the most of available power and status. Indeed, it takes a miracle to cement the relationship between Fra Lippi and Lucrezia Buti, but the results are still apparent today in works that hang in museums and churches around the world.
Merged review:
Drawn from the world of Renaissance Italy, “The Miracles of Prato” is historical fiction that captures the lives and romance of painter Fra Filippo Lippi and his muse, Lucrezia Buti. This is no ordinary relationship, however, because Fra Lippi is a Carmelite monk and Lucrezia is a noviate living in the Convent of Santa Margherita in Prato, Italy, where Fra Filippo serves as chaplain when he can tear himself away from his paints.
Perfectly captured by authors Albanese and Morowitz (an art historian) are the struggles of the times: the domination of the Catholic Church, the sponsorship of artists by rich merchants from Florence and Venice, the inability of women to assert control over their lives-all forces that exact a price from the lives of individuals living in this time. The story is even more poignant because neither Lippi nor Buti had an alternative to taking on their roles in the religious community.
Buti and her sister come to convent upon the death of their father, and it is there that Fra Filippo Lippi first realizes his ideal model for the Madonna, the beautiful Lucrezia. Her role as model is heightened by the importance of Lippi’s commissioned altar piece, a gift to be used by Cosimo de Medici in negotiations between powerful Italian states. This highly irregular practice of modeling by a nun is facilitated by powerful forces within the Church, but everyone has a price to exact, from the head of the Convent on up.
Things begin to go terribly wrong when Fra Lippi’s reputation with women begins to rub off on Lucrezia, and she is ultimately compromised by the Prior General who wrongly assumes she has given herself to the monk. Lippi pledges to protect Lucrezia, but this means disengagement from the Church, which requires a decree from Rome amidst the circumstances of a dying Pope.
Based on true events, this novel is most engaging in helping readers understand what life in Renaissance Italy was like and in detailing the overwhelming control of daily events by the Catholic Church, even for those who did not serve in a religious capacity. Interesting too is the political milieu of the times and the way in which the Church and the merchant class intertwined to join forces to make the most of available power and status. Indeed, it takes a miracle to cement the relationship between Fra Lippi and Lucrezia Buti, but the results are still apparent today in works that hang in museums and churches around the world.
November 2, 2016
This rating is probably a way personal thing for me, and maybe I even asked for it in choosing this book: I do not tend to enjoy books where religion features heavily. It has nothing to do with an aversion to religion in my beliefs, I just don't find it to be interesting reading material. Books with nuns bore me to tears, and it's no coincidence that the books I read and liked this year with nuns in them ("Bohemian Gospel", "The Sisters of Versailles", "A Tale for the Time Being") either dispensed with the convents quite quickly or found a way to relegate all that to the background. It's also no coincidence that I am obsessed with Audrey Hepburn yet the one movie of hers I didn't care for? "The Nun's Story".
I picked up this book expecting to deal with the nuns and the friars and religious life details but get more in terms of the setting, the paintings, and the story - that's what I was in this for. But most of what I read was religious in nature, and although it's true that most Italian art back then was religious motifs, I still was expecting more than what I was given here. I didn't love or even like any of the characters - the love story seems forced (when would anyone ever be like, "you know what I find attractive beyond all else? A TONSURED MONK"), and every single main character is a monk or a nun or some other higher-up in the church. And because they're all church folk, besides doing churchly duties (so exciting to read about), they are acting in the goody-goody way I'd expect church folk to act in. It's not a bad thing to be good if you're a member of the clergy (it's supposed to be an actual requirement), but when all of the characters react in a predictable, boring way, it's not interesting. The exception to this rule is the villain (also a member of the church), who is so moustache-twirlingly eeeevil that he is almost an exact replica of Claude Frollo from Disney's version of "The Hunchback of Notre Dame."
I liked the way the historical fiction aspect of the book was handled; the descriptions of life in Italy in this time period were very vivid and detailed. I also liked the writing style of these authors (two of them, although it's unclear exactly who handled what). I saw that one of them wrote another one in the WWII era that I'll take a chance on, because my problem here really was subject matter rather than writing. Definitely skip this one though, historical fiction fans, unless reading about praying and more praying rings all your monastery bells.
I picked up this book expecting to deal with the nuns and the friars and religious life details but get more in terms of the setting, the paintings, and the story - that's what I was in this for. But most of what I read was religious in nature, and although it's true that most Italian art back then was religious motifs, I still was expecting more than what I was given here. I didn't love or even like any of the characters - the love story seems forced (when would anyone ever be like, "you know what I find attractive beyond all else? A TONSURED MONK"), and every single main character is a monk or a nun or some other higher-up in the church. And because they're all church folk, besides doing churchly duties (so exciting to read about), they are acting in the goody-goody way I'd expect church folk to act in. It's not a bad thing to be good if you're a member of the clergy (it's supposed to be an actual requirement), but when all of the characters react in a predictable, boring way, it's not interesting. The exception to this rule is the villain (also a member of the church), who is so moustache-twirlingly eeeevil that he is almost an exact replica of Claude Frollo from Disney's version of "The Hunchback of Notre Dame."
I liked the way the historical fiction aspect of the book was handled; the descriptions of life in Italy in this time period were very vivid and detailed. I also liked the writing style of these authors (two of them, although it's unclear exactly who handled what). I saw that one of them wrote another one in the WWII era that I'll take a chance on, because my problem here really was subject matter rather than writing. Definitely skip this one though, historical fiction fans, unless reading about praying and more praying rings all your monastery bells.
July 20, 2016
The thing that piqued my interest immediately was the fact that this is historical fiction based on one of my favorite renaissance painters Fra Fillipo Lippi, a monk with a sordid reputation. I'm a sucker for history, for beautiful art and the renaissance and this novel delivered exactly what I was hoping for.
It's a fabulous blend of historical fact and modern fiction that chronicles a few years in the lives of the painter/monk Fra Fillipo and Lucrezia, a novitiate at the Santa Margherita Convent in Prato. It begins in 1457, when young Lucrezia Buti and her sister Spinetta arrive at the convent after misfortune befalls their family and they find themselves suddenly impoverished. While her sister is pious and has wanted to live in the convent from a young age, Lucrezia finds herself having a difficult time letting go of the beauty and finery of her former life and resigning herself to life within the walls of the convent.
An old nun sees a bit of herself in Lucrezia and tries to comfort her by showing her some of the beauty that resides behind the convent walls with them in the form of flowers and herbs in the garden, but it is an altar piece the nun shows her, done by Fra Fillipo Lippi, that captivates Lucrezia. She is intrigued by this man, who is a painter, monk and chaplain of her convent. A chance meeting between the two occurs early one morning, while Lucrezia kneels in the small chapel gazing at his magnificent painting. Fra Fillipo, having prayed for inspiration to finish one of the most important paintings of his lifetime is enamored by her beauty and realizes he has found his muse.
That is just the beginning of their story, which is filled with romance, beauty, greed, pride, tragedy, innocence, violence, passion and miracles. If you are intrigued by the Italian Renaissance, art history, star crossed love, life in the cloisters or just enjoy an all around good story, I'd recommend giving this book a read.
It's a fabulous blend of historical fact and modern fiction that chronicles a few years in the lives of the painter/monk Fra Fillipo and Lucrezia, a novitiate at the Santa Margherita Convent in Prato. It begins in 1457, when young Lucrezia Buti and her sister Spinetta arrive at the convent after misfortune befalls their family and they find themselves suddenly impoverished. While her sister is pious and has wanted to live in the convent from a young age, Lucrezia finds herself having a difficult time letting go of the beauty and finery of her former life and resigning herself to life within the walls of the convent.
An old nun sees a bit of herself in Lucrezia and tries to comfort her by showing her some of the beauty that resides behind the convent walls with them in the form of flowers and herbs in the garden, but it is an altar piece the nun shows her, done by Fra Fillipo Lippi, that captivates Lucrezia. She is intrigued by this man, who is a painter, monk and chaplain of her convent. A chance meeting between the two occurs early one morning, while Lucrezia kneels in the small chapel gazing at his magnificent painting. Fra Fillipo, having prayed for inspiration to finish one of the most important paintings of his lifetime is enamored by her beauty and realizes he has found his muse.
That is just the beginning of their story, which is filled with romance, beauty, greed, pride, tragedy, innocence, violence, passion and miracles. If you are intrigued by the Italian Renaissance, art history, star crossed love, life in the cloisters or just enjoy an all around good story, I'd recommend giving this book a read.
February 26, 2009
In this historical romance novel we are transported to 15th century Italy where we are privy to a “behind the scenes look” at the authors’ vision of the forbidden love between a monk/artist Fra Filippo Lippi and his inspirational muse, a nun named Lucrezia Buti.
Fra Lippi becomes captivated by the beautiful Lucrezia and uses her visage as his inspiration in creating the many magnificent Madonna’s he produces for the de’ Medici family and the Catholic Church. Lippi approaches his religious art from its human side rather than its spiritual aspect and many of his remarkable creations have survived to this day.
The artists’ obsession with his “Madonna” bears some similarity to other artist/muse tales such as
“The Girl With a Pearl Earring”. In both instances the artists were “married”……one to a woman and the other to a religious doctrine ……and in both instances the artists tempted fate in order to fulfill their creative and emotional needs.
As for the Miracles of Prato, there are many to choose from. The miraculous birth and survival of a son to a woman whose husband has gifted her with a picture of the Madonna that bears the face of Lucrezia Buti, the mysterious disappearance and return of a sacred relic said to belong to the Virgin, as well as the abduction and ultimate return of Lucrezia’s first child. Keeping in mind that this is a tale of HISTORICAL FICTION, the reader can still marvel at not only the “miracles” but also the talent of the two authors who have deftly interwoven the threads of truth and fantasy into this story of faith, love and devotion. Three and a half stars
January 8, 2009
Art historians Laurie Albanese and Laura Morowitz have combined forces to create an entertaining and gripping look into the world of the Italian Renaissance through the story of Fra Fillippo Lippi and Lucrezia Buti. The former was a famous artist and the latter was the Carmelite novitiate who became his muse.
Lippi and Buti are historic persons, as are many of the characters who pepper the pages of this novel -- from nuns to nobility. The authors present a world in which the church controls the state as well as the artistic community, and the challenges wrought when the two institutions collide. In this case, the monk Lippi falls in love with and seeks permission to marry his muse, but by the time it is granted she has become a nun (despite having borne two children to the artist).
Those with an interest in art or Italian history are sure to enjoy this portrait of 15th Century Tuscany as seen through the eyes of people from all walks of life.
(Review based on advance reader's edition.)
Lippi and Buti are historic persons, as are many of the characters who pepper the pages of this novel -- from nuns to nobility. The authors present a world in which the church controls the state as well as the artistic community, and the challenges wrought when the two institutions collide. In this case, the monk Lippi falls in love with and seeks permission to marry his muse, but by the time it is granted she has become a nun (despite having borne two children to the artist).
Those with an interest in art or Italian history are sure to enjoy this portrait of 15th Century Tuscany as seen through the eyes of people from all walks of life.
(Review based on advance reader's edition.)
February 6, 2009
Already a fan of Laurie Albanese's other novel (LYNELLE BY THE SEA) and her memoir in verse (BLUE SUBURBIA) I couldn't wait to read THE MIRACLES OF PRATO. It did not disappoint. Less literary than her other works, MIRACLES tells the artful, passionate love story of a priest and a nun in Renaissance Italy--based on a true story. I loved the period details, the art history (meticulously researched), and the way the two lovers struggled to reconcile their love for each other with their love for their Catholic God. The emotional tension and dilemmas were convincingly portrayed, while still keeping it clean--there are no explicit sex scenes.
October 4, 2008
This is a book that, once started, you will not want to put down. It's a novel that is not only read but seen. I found it to be visually rich. The reader really feels that they are "there". I don't want to give much away. it is simplistic to say that this is a story of monk/painter Filippo Lippi and the beautiful novitiate Lucrezia Buti, (his model, lover, wife) and their romance. This book is a tapestry of prose and poetry. An ode to an artist and to a time which you will step into and not want to leave. It stays will thyou long after you have completed it.
October 29, 2009
Being that Dr. Laura Morowitz is the reason I found my own love for art history, I could not wait to read this book. I was not disappointed. I have always been a fan of historical fiction and am not one to chastise authors for taking license with material inspired by actual events. After all, I read books for the enjoyment of story and language, not to get my history lessons. This book painted a beautiful picture of its setting and characters. The romance was realistic for the setting...no true fairy tale ending here. I would certainly love if these two authors collaborated again!
March 28, 2010
I was excited about winning this book through First Reads. It is recommended for people who enjoyed Girl in Hyacinth Blue, which I loved. I saw the book in a book store recently and almost purchased it. It was an interesting approach written by two authors, Laurie Albanese who is a novelist and her friend, Laura Morowitz who is an art historian. It is a unique collaboration about a painter, Fra Filippo Lippi and his muse, Lucrezia. Not wanting to provide any spoilers, it's historically acurate and a good read! Thank you First Reads!!!!! Thumbs up!
January 18, 2022
This was one of those books that was always waiting for something to happen. Lots of longing looks and Feelings. The descriptions of the art and painting were good and I mostly felt a sense of time and place, but a few too many terms were used without explanation (particularly for clothes). I'm rather so-so on the romance -- it kind of worked in the context of the story, but less so after I learned that the two lived apart for most of their lives after the events covered in the book.
January 8, 2009
This is an absolutely beautifully written book of historical fiction. The authors provide the most vivid and realistic details of the 1400's in Prato. The intrigue of a forbidden love is infectious. I read this is two seatings- I could not put it down!
January 11, 2010
What a terrific book. It's based on true characters, which I didnt know while reading it. Its about a novitiate and a monk who fall in love and not the kind of falling in love like most novels, but the kind of love you'd imagine for these two people. A must read!!!!
July 15, 2011
Italian Renaissance period, art history, historical fiction: what else can I ask for? Beautifully written, full of rich details and engrossing characters, I was drawn in from the first page. Good read.
May 31, 2010
When the beautiful Lucrezia Buti and her sister Spinetta arrive on the doorstep of the Convent Santa Margherita, they are admitted with open arms and ushered into the simplicity of cloistered life. But for Lucrezia this new life is one of sadness, for until her father's unexpected death, she had been expecting to marry a handsome merchant and live her life as a wife and mother. As Lucrezia comes to fully understand the sacrifices demanded of her, she meets the monk and painter Fra Filippo Lippi. Fra Filippo is also the chaplain to the convent and during one of his routine visits he comes across the stunning Lucrezia and is immediately captured by her beauty. Wishing to use her as a model for several commissions of the Madonna that he is to paint, Fra Filippo inveigles an arrangement for Lucrezia to visit his home and workshop so that she may model for him. But Lucrezia's visits are not going unnoticed by others with great power. As Fra Filippo begins to paint the young woman, he becomes hopelessly in love with her, a dangerous situation for a monk and a novice to find themselves in. As the two become conspirators in art, unseen hands begin to threaten both of their futures, and Fra Filippo and Lucrezia begin a frightening downward spiral amidst the wondrous paintings that their forbidden union creates. In this lush and dark creation, two people long to give their souls to each other but find heartache for they have already given them to God.
When I was offered the chance to review this book for my site, I was surprised to discover that it had in fact been written by two bloggers! I know there are probably a lot of bloggers out there who are working on novels of their own, or wish to, but I have never had the pleasure of reading something written by a member of my own community. I was pretty excited about reading the book, and in the end, I felt like the collaboration between Albanese and Morowitz made for a wonderful and engrossing read.
When I began this book, I had a feeling that I would already be familiar with the story it tells. A pair of young girls is brought to a convent against their will after their father dies and leaves them penniless. I thought back to Sacred Hearts by Sarah Dunant, a story that had a very similar beginning. But as the story progressed, I found that this was a very different story indeed. First of all, though Lucrezia did not want to be held as a captive in the convent, she starts to conform into a chaste and virtuous woman very early on. She is humble about the situation that she finds herself in, and instead of fighting with all her might, decides to pray for enlightenment and acceptance. I found this to be a rare attitude, for I can imagine that being placed in a convent and watching your prospects dwindle away would probably be maddening and upsetting, but Lucrezia takes it all in stride and acts with grace.
Fra Filippo was a different creature entirely. As a monk, he is forced to live a chaste life. This is very hard for him to do, and the reader is led to believe that the monk has had several indiscretions with easy women, problems with his finances and a lot of trouble actually completing the commissions that he has been hired to work upon. Fra Filippo is a lover of beauty, and upon seeing Lucrezia for the first time, his soul is rapturous. He has trouble concentrating on his duties as the convent's chaplain due to his hypersensitivity to Lucrezia's face and body. Though he doesn't dare dream about breaking his vows, he has trouble controlling his excitement and ardor for the young girl and works out his own arrangements to have her model for him. Though things begin in innocence, the two are quickly led astray when they realize that their interest in each other is not merely platonic. During these early scenes, I found a lot to admire about Fra Filippo. He had some slightly loose morals at times but he strove to keep himself in check and do what was expected of him as a monk and chaplain.
When an unexpected attack blackens Lucrezia's honor, Fra Filippo is angry and livid. He wishes to protect the young girl from further dishonor and finally reveals his love for her. Though he is a monk, he discovers that his heart's desire has been sitting right in front of him and he is willing to do anything to keep her. There are mounting dangers and pressures for Filippo. Because of his habit of always being behind on his commissions, he is drawing anger from the high placed officials in the church, and various others begin to threaten him about his inappropriate relationship with his young model. These sections were filled with drama and suspense and I found them to be the most interesting of the book. As the monk dodges and weaves out of harm's way, he never suspects that Lucrezia could be in danger as well. Forces mightier than the two are working furiously against them and are beginning to create situations of great danger for them. There is wickedness coming from all directions, and try as they might, the two have a hard time keeping it at bay while still managing to care for one another.
The writing style of this book was extremely atmospheric and easy to become enmeshed in. It portrays this time period very skillfully, and within its historic framework, it also deftly captures and describes the art of its time. I found that while I was reading it was easy to get lost in the place and time that the novel is set in and it was almost as if I could see the sun-soaked streets of Renaissance Italy and smell the gesso that the painter used to capture his detailed paintings. At times the book was darker than I had been expecting but this was not really a hindrance to me. I also loved the look at the internal politics of the convent. Much like the convent portrayed in Sacred Hearts, this was a place where ambition was clothed in the habits of the women walking through its halls. There was a lot of intrigue going on within the convent walls and it was fascinating to discover that these women, who were so far removed from society, were really not all that different from the ones that were free. I think that this was a marvelous aspect of the story and it captured my interest in a lot of ways. I am fast becoming a lover of convent literature and this is one of the books I have to thank for that!
If you are a reader of historical fiction and enjoy books with blended settings, I think this would be a great addition to your collection. Those who love stories about art history or the very intricate life that goes on behind the convent walls would also enjoy this book. Between the intense story it tells, the great attention to detail and the incredible aura it captures, this book made for a wonderful reading experience. A terrific work of historical fiction.
When I was offered the chance to review this book for my site, I was surprised to discover that it had in fact been written by two bloggers! I know there are probably a lot of bloggers out there who are working on novels of their own, or wish to, but I have never had the pleasure of reading something written by a member of my own community. I was pretty excited about reading the book, and in the end, I felt like the collaboration between Albanese and Morowitz made for a wonderful and engrossing read.
When I began this book, I had a feeling that I would already be familiar with the story it tells. A pair of young girls is brought to a convent against their will after their father dies and leaves them penniless. I thought back to Sacred Hearts by Sarah Dunant, a story that had a very similar beginning. But as the story progressed, I found that this was a very different story indeed. First of all, though Lucrezia did not want to be held as a captive in the convent, she starts to conform into a chaste and virtuous woman very early on. She is humble about the situation that she finds herself in, and instead of fighting with all her might, decides to pray for enlightenment and acceptance. I found this to be a rare attitude, for I can imagine that being placed in a convent and watching your prospects dwindle away would probably be maddening and upsetting, but Lucrezia takes it all in stride and acts with grace.
Fra Filippo was a different creature entirely. As a monk, he is forced to live a chaste life. This is very hard for him to do, and the reader is led to believe that the monk has had several indiscretions with easy women, problems with his finances and a lot of trouble actually completing the commissions that he has been hired to work upon. Fra Filippo is a lover of beauty, and upon seeing Lucrezia for the first time, his soul is rapturous. He has trouble concentrating on his duties as the convent's chaplain due to his hypersensitivity to Lucrezia's face and body. Though he doesn't dare dream about breaking his vows, he has trouble controlling his excitement and ardor for the young girl and works out his own arrangements to have her model for him. Though things begin in innocence, the two are quickly led astray when they realize that their interest in each other is not merely platonic. During these early scenes, I found a lot to admire about Fra Filippo. He had some slightly loose morals at times but he strove to keep himself in check and do what was expected of him as a monk and chaplain.
When an unexpected attack blackens Lucrezia's honor, Fra Filippo is angry and livid. He wishes to protect the young girl from further dishonor and finally reveals his love for her. Though he is a monk, he discovers that his heart's desire has been sitting right in front of him and he is willing to do anything to keep her. There are mounting dangers and pressures for Filippo. Because of his habit of always being behind on his commissions, he is drawing anger from the high placed officials in the church, and various others begin to threaten him about his inappropriate relationship with his young model. These sections were filled with drama and suspense and I found them to be the most interesting of the book. As the monk dodges and weaves out of harm's way, he never suspects that Lucrezia could be in danger as well. Forces mightier than the two are working furiously against them and are beginning to create situations of great danger for them. There is wickedness coming from all directions, and try as they might, the two have a hard time keeping it at bay while still managing to care for one another.
The writing style of this book was extremely atmospheric and easy to become enmeshed in. It portrays this time period very skillfully, and within its historic framework, it also deftly captures and describes the art of its time. I found that while I was reading it was easy to get lost in the place and time that the novel is set in and it was almost as if I could see the sun-soaked streets of Renaissance Italy and smell the gesso that the painter used to capture his detailed paintings. At times the book was darker than I had been expecting but this was not really a hindrance to me. I also loved the look at the internal politics of the convent. Much like the convent portrayed in Sacred Hearts, this was a place where ambition was clothed in the habits of the women walking through its halls. There was a lot of intrigue going on within the convent walls and it was fascinating to discover that these women, who were so far removed from society, were really not all that different from the ones that were free. I think that this was a marvelous aspect of the story and it captured my interest in a lot of ways. I am fast becoming a lover of convent literature and this is one of the books I have to thank for that!
If you are a reader of historical fiction and enjoy books with blended settings, I think this would be a great addition to your collection. Those who love stories about art history or the very intricate life that goes on behind the convent walls would also enjoy this book. Between the intense story it tells, the great attention to detail and the incredible aura it captures, this book made for a wonderful reading experience. A terrific work of historical fiction.
June 30, 2017
John Steinbeck wrote:
So I've always been a little hesitant to read anything by two authors. But The Miracles of Prato by Laurie Albanese and Laura Morowitz sounded like it was right up my alley. About a real life painter (Fra Fillipo) and hence about art. It had a beautiful cover (a painting by Fra Fillipo of course) and an interesting storyline.
It didn't deliver. The story was decent. Two young sisters lose their father and are forced to become novitiates in a convent. One sister is eminently suited to convent life, the other, the beautiful Lucrezia not at all. Fra Fillipo, the monk of the convent, is moved by Lucrezia's beauty and despite the untoward appearance of a monk painting a novitiate decides to buck the social disapproval and go for it.
Problems arise. I won't go into details but they're pretty typical problems. Yes, they're even more complicated because the characters are religious, but they're still pretty typical problems. I did like one thing in particular and that was the idea (hence the title) that Fillipo's painting of Lucrezia as the Madonna was so astoundingly beautiful that some of the townspeople believed it was miraculous.
The writing is competent but very rarely passionate. I don't mind that I read this book. It was fairly interesting, especially considering the historical connection, but it was just missing something. Maybe missing any real sense of the miraculous.
"Our species is the only creative species, and it has only one creative instrument, the individual mind and spirit of man. Nothing was ever created by two men. There are no good collaborations, whether in music, in art, in poetry, in mathematics, in philosophy. Once the miracle of creation has taken place, the group can build and extend it, but the group never invents anything. The preciousness lies in the lonely mind of a man."
So I've always been a little hesitant to read anything by two authors. But The Miracles of Prato by Laurie Albanese and Laura Morowitz sounded like it was right up my alley. About a real life painter (Fra Fillipo) and hence about art. It had a beautiful cover (a painting by Fra Fillipo of course) and an interesting storyline.
It didn't deliver. The story was decent. Two young sisters lose their father and are forced to become novitiates in a convent. One sister is eminently suited to convent life, the other, the beautiful Lucrezia not at all. Fra Fillipo, the monk of the convent, is moved by Lucrezia's beauty and despite the untoward appearance of a monk painting a novitiate decides to buck the social disapproval and go for it.
Problems arise. I won't go into details but they're pretty typical problems. Yes, they're even more complicated because the characters are religious, but they're still pretty typical problems. I did like one thing in particular and that was the idea (hence the title) that Fillipo's painting of Lucrezia as the Madonna was so astoundingly beautiful that some of the townspeople believed it was miraculous.
The writing is competent but very rarely passionate. I don't mind that I read this book. It was fairly interesting, especially considering the historical connection, but it was just missing something. Maybe missing any real sense of the miraculous.
September 1, 2021
Full Disclosure: I read this novel only because I love Robert Browning's poem My Last Duchess, which mentions Fra Lippo Lippi.
Taking a page from Chevalier's Girl With a Pearl Earring, author's Laurie Albanese & Laura Morowitz imagine the life of the renowned 15th Century painter Fra Filippo Lippi and his partner Lucrezia Buti. There is scant little known about Lucrezia, giving them a blank canvas. However the characters don't fully come to life, leaving the reader slightly unfilled.
Lucrezia becomes impoverished, is sent to a nunnery and falls in love with the poor frair -painter Fra Filipp Lippi who, as her confessor, gives her permission to find happiness in beauty & art and then rescues her from her drab existence as a nun, despite the efforts of Sister Pureza (who has her own secretes and thus means well even as her attempts to "save" Lucrezia inadvertently ruin Lucrezia's life.)
I think, had I not read Girl With a Pearl Earring first I would have liked this book more. But instead I spent most of the book comparing it unfavorably to the former. The characters just didn't grab me and I went days without picking the book up. I will be donating this one back to the resale shop so it's a solid 3 star but not a keeper
Taking a page from Chevalier's Girl With a Pearl Earring, author's Laurie Albanese & Laura Morowitz imagine the life of the renowned 15th Century painter Fra Filippo Lippi and his partner Lucrezia Buti. There is scant little known about Lucrezia, giving them a blank canvas. However the characters don't fully come to life, leaving the reader slightly unfilled.
Lucrezia becomes impoverished, is sent to a nunnery and falls in love with the poor frair -painter Fra Filipp Lippi who, as her confessor, gives her permission to find happiness in beauty & art and then rescues her from her drab existence as a nun, despite the efforts of Sister Pureza (who has her own secretes and thus means well even as her attempts to "save" Lucrezia inadvertently ruin Lucrezia's life.)
I think, had I not read Girl With a Pearl Earring first I would have liked this book more. But instead I spent most of the book comparing it unfavorably to the former. The characters just didn't grab me and I went days without picking the book up. I will be donating this one back to the resale shop so it's a solid 3 star but not a keeper
May 28, 2020
I had to push myself through the first half and then it picked up. I'm not one to complain about structure, plots etc. I just like to read something that entertains me and has some interesting details. I found the descriptions of how the artists worked in the 1400's interesting (having worked in egg tempera on gesso boards myself) and I think the author captured the intensity and excitement an artist feels when they see something that stimulates them creatively and how an artist can become obsessed. I just think a lot of it could have been edited down more tightly. I noted in some of the reviews that readers thought the authors were doing a hatchet job on the church and clergy. I don't agree. The church is nothing more than a wealthy corporation with both good and bad prelates, and men being men, you'd have to be pretty naive not to believe that plenty of sexual abuse of both sexes took place (especially during the times when women and children had no voice).
March 24, 2024
this historical fiction story takes place in the early renaissance period of the late 1400's. i was drawn to it for both the historical fiction genre and the time period. anything about art works for me. i was less than enthralled early in the book but at some point things really turned around for me and i was swept into the taut narrative. the characters range from the ladies at the convent to the politically powerful italian men who ran things, to a love affair between a novitiate and a prominent artist. this is a good read.
May 15, 2025
I’m not religious at all so I found that part of the book interesting, yet not surprised when the men who claim to be men of God, are actually the sinners.
I felt like this entire book was like a slow simmer and then the end was super hastily done, just to finish the story. Also there was a part in the epilogue that I wanted an explanation about but it was just glossed over. That was annoying.
This book is a reminder of how crappy women are treated… and somehow we are always to blame for the sins of man.
I liked her book Hester better.
I felt like this entire book was like a slow simmer and then the end was super hastily done, just to finish the story. Also there was a part in the epilogue that I wanted an explanation about but it was just glossed over. That was annoying.
This book is a reminder of how crappy women are treated… and somehow we are always to blame for the sins of man.
I liked her book Hester better.
June 17, 2024
I kept waiting for something to happen. In fact, I almost gave up about halfway through and actually laid it aside. Did manage to finish it. Did not enjoy the multiple foreign words sprinkled here and there (sometimes Latin, sometimes Italian ... with no clue as to what or if they fit into the sentence).
After doing a bit of research on Fra Fillipo Lippi, maybe I'll put it back on the shelf and give it another try.
After doing a bit of research on Fra Fillipo Lippi, maybe I'll put it back on the shelf and give it another try.
Displaying 1 - 30 of 96 reviews