Richard Muther Knihy

Greetings, kind travelers! The roads south to the Lands of Intrigue are long and dusty, yet they promise greatness and glory for merchants, adventurers, and scholars. Those brave enough to venture here will encounter unique forms of power, magic, and culture found nowhere else in Faerûn. This expansion, developed from out-of-print material, offers over 150 pages of new content. The first section explores Tethyr, detailing its transformation from an elven homeland to a human nation, and its recent restoration from anarchy. Once plagued by the malevolent Empire of Shoon, Tethyr now stands as the safest realm in the Lands of Intrigue, though remnants of its dark past linger in the form of monsters and wandering spirits. The second section focuses on Amn, known as Coinland, where wealth is the lifeblood, sourced from trade along the Sword Coast and distant colonies. However, a shadow looms over those fixated on their riches. The third section introduces Erlkazar, a previously undocumented domain ready for DMs to develop for their campaigns. It also unveils the hidden powers of the South, including the Cowled Wizards, Knights of the Shield, Shadow Thieves, and the undead sorcerers of the Twisted Rune. Two poster maps illustrate the Lands of Intrigue, the Nelanther Pirate Isles, and the ruins of Shoonach, alongside over a dozen additional maps of Amn, Tethyr, and the Maztican colonies.

Focusing on the life and artistry of Swiss portrait painter Anton Graff, this book delves into his significant contributions to 18th-century art. It explores his training, travels, and artistic evolution, showcasing portraits of notable figures like Goethe and Schiller. The author highlights Graff's exceptional ability to capture the essence of his subjects, positioning him as a key figure in the history of classicism in painting. Richly illustrated, the work is essential for enthusiasts of 18th-century art and portraiture.

Die Beschreibung thematisiert die wechselhafte Wahrnehmung des Künstlers Anton Graff im Laufe der Jahrhunderte. Während er im achtzehnten Jahrhundert von seinen Zeitgenossen überbewertet und mit großen Meistern wie Tizian und Rembrandt verglichen wurde, erlebte die nachfolgende Generation eine kritische Abwertung seiner Werke. Erst in der heutigen Zeit findet eine ausgewogene Anerkennung seines Schaffens statt, die sowohl Über- als auch Unterschätzung berücksichtigt.