Synopsis coming soon.......

The Secret the Italian ClaimsShe hid his child...he'll claim them both!Cristiano is furious Hallie hid the consequences of their hot night and demands she marry him! Their passion is still powerful...but Hallie wants a real family. Will seduction be enough to secure Cristiano's legacy?The Bride's Baby of ShameThe bride's secret? His baby!Sophie never challenged her arranged marriage. Until one secret night with Renzo leaves her pregnant! Renzo will legitimise his child--even if it means stealing Sophie from her own wedding to make her his bride!

The truth about her baby bump!

What a day! First Grace’s boss makes her buy sexy lingerie for his girlfriend, then a passing car soaks her in mud and now the pricy lingerie she was carrying is completely ruined. There’s no way she can replace it on her salary. Thankfully, a beautiful man gets out of the offending car and promises to pay for any damages, so she has nothing to worry about. But Grace gasps when she realizes who he is?just what is her boss's rival, Maksim Rostov, doing here?

Alessandro Leopardi prides himself on his ability to sort the women from the girls. So when he finds Leonora Thaxton piloting his private jet, he's outraged! Firstly, he doesn't employ females—too distracting. Secondly, she's a ravishing beauty—and he can't quite believe he was duped. Leonora won't be getting away with it! The dark-hearted billionaire needs a no-strings mistress for one night. Then he'll let her go. But when the public show becomes a private seduction, Alessandro realizes she may be worth more to him than he thought….

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.