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By E. L. Konigsburg

Eleanor of Aquitaine has each cause to be  upset.

For centuries she's been  patiently watching for her husband, King Henry II, to  meet her in Heaven. fortunately, she's sharing a cloud  with a few previous associates who knew her whilst she and  Henry governed excellent. so long as they're jointly, they  might in addition gossip approximately previous times--and quickly all  of Eleanor's adventures within the heart a while spring  to existence again.

Finally, simply when  they're approximately to renounce on Henry, Eleanor spots  three males floating towards them. in any case this  time, may perhaps one in every of them be Henry?

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The succession of Castile was left in doubt because Juana was commonly believed to be illegitimate, and Enrique had vacillated several times before his death between the two women in naming his heir. In need of support, Alfonso sailed to France, where *Louis XI offered to approach the pope in order to legitimize Alfonso’s marriage to Juana. In Alfonso’s absence, his son Joa˜o ruled in Portugal. The promised French aid never materialized, and as the discouraged Alfonso prepared to return to Portugal, he made the abrupt decision to renounce the monarchy and become a monk.

Yet Beaufort quarrelled with Bedford over political control in France, opening himself to a renewed personal attack by Gloucester in 1431. Though Beaufort persevered with parliamentary support, the atmosphere hampered efforts to fund adequately more French campaigns, resulting in further English losses. By 1433 Beaufort and Bedford had renewed their commitment to the French war, again with the duke in the field and the bishop raising money and conducting diplomacy, but Burgundy’s desertion from the war in 1435 and Bedford’s almost simultaneous death devastated both England’s military position and Beaufort’s protection against Gloucester.

Andrew of Wyntoun. See Wyntoun, Andrew of. Angelico, Fra (c. 1395/1400–1455), originally Guido di Piero, was an Italian painter and Dominican friar. Equally at home with the minutiae of manuscript illumination and with the bold modeling of the monumental fresco cycles, Fra Angelico put the sturdy realism of his Renaissance contemporaries at the service of an entirely nonrational, devotional art. Fra Angelico’s origins are obscure, and documentary evidence is scarce. Born Guido di Piero at the end of the fourteenth century near Vicchio (Mugello), he moved at an unknown date to Florence and trained there as a manuscript illuminator.

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