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Featuring illuminated manuscripts from nineteen Boston-area institutions, Beyond Words provides a sweeping overview of the history of the book in the Middle Ages and Renaissance, as well as a guide to its production, illumination, functions, and readership. With over 150 manuscripts on display, Manuscripts for Pleasure & Piety at the McMullen Museum focuses on lay readership and the place of books in medieval society. The High Middle Ages witnessed an affirmation of the visual and, with it, empirical experience. There was an explosion of illumination. Various types of images, whether in prayer or professional books, attest to the newfound importance of visual demonstration in matters of faith and science alike."--

To uphold family honor and tradition, Sheetal Prasad is forced to forsake the man she loves and marry playboy millionaire Rakesh Dhanraj while the citizens of Raigun, India, watch in envy. On her wedding night, however, Sheetal quickly learns that the stranger she married is as cold as the marble floors of the Dhanraj mansion. Forced to smile at family members and cameras and pretend there's nothing wrong with her marriage, Sheetal begins to discover that the family she married into harbors secrets, lies and deceptions powerful enough to tear apart her world. With no one to rely on and no escape, Sheetal must ally with her husband in an attempt to protect her infant son from the tyranny of his family.sion.

In the fall of 2016 an international scholarly conference accompanied the exhibition Beyond Words: Illuminated Manuscripts in Boston Collections. The speakers were chosen because of their expertise and because they were known to have research underway pertaining to important manuscripts in the exhibition. The aim of both exhibition and conference was to provide a broad overview of the history of patronage and book production over the course of the High and late Middle Ages, to the extent that the eclectic holdings of Boston-area institutions permitted. Most of the papers delivered at the conference have been collected as essays in this abundantly illustrated volume which, while still linked to the exhibition, now has an independent purpose. Just as the essays cover a wide range of topics, all relating to the history of the book, but also, inter alia, to the history of law, liturgy, literature, and libraries as well as to devotion, theology, and art, so too the approaches adopted by the contributors are as varied as the materials they study, ranging from paleography, codicology, and provenance research to painstaking reconstructions of historical patterns of patronage and the interpretative strategies of authors and artists. What results is not simply a wealth of fascinating insights into individual illuminated books, their makers, and their readers, but also an indication of how much remains to be learned about the materials to which the exhibition served as no more than an introduction.