Hot on the trail of a killer in Manhattan, FBI Special Agent Pendergast must face his most brilliant and dangerous enemy: his own brother. Two brothers. One a top FBI agent. The other a brilliant, twisted criminal. An undying hatred between them. Now, a perfect crime. And the ultimate challenge: Stop me if you can...

Elina Gertsman's multifaceted study introduces readers to the imagery and texts of the Dance of Death, an extraordinary subject that first emerged in western European art and literature in the late medieval era. Conceived from the start as an inherently public image, simultaneously intensely personal and widely accessible, the medieval Dance of Death proclaimed the inevitability of death and declared the futility of human ambition. Gertsman inquires into the theological, socio-historic, literary, and artistic contexts of the Dance of Death, exploring it as a site of interaction between text, image, and beholder. Pulling together a wide variety of sources and drawing attention to those images that have slipped through the cracks of the art historical canon, Gertsman examines the visual, textual, aural, pastoral, and performative discourses that informed the creation and reception of the Dance of Death, and proposes different modes of viewing for several paintings, each of which invited the beholder to participate in an active, kinesthetic experience.

The Dance of Death Danse Macabre Hans Holbein With an introductory note by Austin Dobson Dance of Death, also called Danse Macabre, is an artistic genre of late-medieval allegory on the universality of death: no matter one's station in life, the Dance of Death unites all. The Danse Macabre consists of the dead or personified Death summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and labourer. They were produced as mementos mori, to remind people of the fragility of their lives and how vain were the glories of earthly life. Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme was a now-lost mural in the Saints Innocents Cemetery in Paris dating from 1424 to 1425.