When a lost lady discovers that love is found far from home. After confessing her love for Lord Cunningham, Lady Rose Darby is whisked away by her father in the dead of night and locked in an old asylum. With no one but her paid companion, Miss Flint, for company, six months pass before Rose manages to escape. But her plans to return to London go awry when she finds herself at Everleigh, a sprawling mansion nestled in the heart of the forest. Mistaken for a newly appointed maid, Rose is sent to meet her new master, the sinfully handsome and brooding Lord Farleigh. But how can she tell him who she really is without ruining her reputation? And why does the thought of working for a living suddenly have appeal? Christian Knight, seventh Viscount Farleigh, leads a reclusive life in his country estate. Widowed at thirty and left to care for his two young children, love and marriage are not on his agenda. What respectable woman would want to move into a house in such a state of turmoil? The staff are sick, and he can’t keep a governess for more than a week. Is that why the new maid, Rose, proves too much of a distraction? As an honourable man, he knows he must fight the attraction.
Yet, crippled with loneliness, his conscience is soon at war with his feeble heart. Features: Regency historical romance Contains some descriptive sex scenes Approx 65,000 words
Action-packed political satire in a post-apocalyptic Western setting, the Jeremiah stories have been worldwide bestsellers since their introduction in the 1980s. Featuring dazzlingly detailed and kinetic artwork from Hermann, a master of European graphics storytelling, the third Jeremiah Omnibus presents tales of blood, vengeance, and the enduring power of friendship.
This revised edition of an extremely clear Navy training manual leaves nothing to be desired in its presentation. Thorough in its coverage of basic theory, from the lever and inclined plane to internal combustion engines and power trains, it requires nothing more than an understanding of the most elementary mathematics. Beginning with the simplest of machines — the lever — the text proceeds to discussions of the block and tackle (pulleys and hoists), wheel and axle, the inclined plane and the wedge, the screw, and different types of gears (simple, spur, bevel, herringbone, spiral, worm, etc.).
A chapter on the concept of work discusses the measurement of work, friction, and efficiency; this is followed by investigations of power, force, and pressure, with explanations of the uses of scales, balances, gauges, and barometers. The fundamentals of hydrostatic and hydraulic machines (such as the hydraulic braking system and the hydraulic press) are discussed in detail. The remaining chapters cover machine elements (bearings and springs), basic mechanisms (gear differential, couplings, cams, clutches), the internal combustion engine and power trains (including explanations of various transmission systems — synchromesh, auxiliary, etc.). Every concept is clearly defined, and discussions always build easily from elementary theory to specific applications familiar to anyone with the slightest interest in mechanics. Important concepts, machine components, and techniques are clearly illustrated in more than 200 diagrams, drawings, and cross-sections that reveal inner workings — all of these help to clarify even further an already clear and well-organized presentation. Although it was originally designed for use in U.S. Naval Training Schools, this book can be used to great advantage as a basic text in mechanical engineering in standard technical schools, and it will be immensely valuable even to lay readers who desire a basic knowledge of mechanics.
In this richly illustrated book, Oleg Grabar shares a veteran art historian's love for the sheer sensuality of ornamentation. Grabar analyzes early and medieval Islamic objects and uses this art to show how ornament in general enables a direct, immediate encounter between viewers and art objects from any culture and time period.In this richly illustrated book, Oleg Grabar shares a veteran art historian's love for the sheer sensuality of ornamentation. Grabar analyzes early and medieval Islamic objects and uses this art to show how ornament in general enables a direct, immediate encounter between viewers and art objects from any culture and time period.