The first classic Catholic translation of the New Testament in English was smuggled into Britain by persecuted Elizabethan Catholics more than four hundred years ago.
The original text (very different from the substantial rewrite by Bishop Challoner), has been out of print for nearly a century. It is reissued with a new introduction by historian Michael Hoffman, in a word-for-word reprint of the first edition of 1582, reset in modern type and orthography, enlarged for ease of reading, study and devotion.
The 1582 Rheims scrupulously privileged primary sources, principally the Latin Vulgate of St. Jerome according to extant Renaissance manuscripts. It is the neglected magnum opus of the English Counter-Reformation.
There are multiple New Testaments titled Rheims, or the true 1582 Rheims. Ours is the only edition published that faithfully reprints the text from 1582 in large print, modern spelling and type, in a quality softcover.

1582 Rheims New Testament Modern Typeset Large Print Edition

Gregory Martin

Independent History and Research

Stephen Es Un Buen Nieto / Stephen Is A Good Grandson (Participemos / Doing Our Part) (Spanish Edition)

Children's Books

Growing Up & Facts of Life

Powerkids Pr

The Flemish artist Peter Paul Rubens is probably the most important foreign artist to have worked in England. The story of how this came to be, of what he did when he was in England and what he painted for King Charles I, is the story of this book. Charles and his father, the first Stuart monarchs of Great Britain, led and promoted a great wave of interest in the arts, in particular the visual arts, which culminated in Rubens painting nine large canvases to decorate the ceiling of Inigo Jones's Banqueting Hall, the ceremonial centre of the Court in Whitehall, a monument that is still intact today. Rubens's cycle is an unappreciated masterpiece of Baroque state art, and is the focus of the book. How Rubens came to obtain the commission is a tale of international politics and diplomacy in which the artist himself played a significant role; to realize the commission was one of the great challenges of his career.

Rubens in London: Art and Diplomacy (Studies in Baroque Art)

Arts & Photography

History & Criticism

Harvey Miller Publishers

One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.

Mythological Subjects: Hercules to Olympus (Corpus Rubenianum Ludwig Burchard, 11)

Fiona Healy

Elizabeth McGrath

Bert Schepers

Nils Büttner

Jeremy Wood

Gerlinde Gruber

Eveliina Juntunen

Harvey Miller

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Books by Gregory Martin