Paris, 1890. When Sherlock Holmes finds himself chasing an art dealer through the streets of Paris, he’s certain he’s smoked out one of the principals of a cunning forgery ring responsible for the theft of some of the Louvre’s greatest masterpieces. But for once, Holmes is dead wrong. He doesn’t know that the dealer, Theo Van Gogh, is rushing to the side of his brother, who lies dying of a gunshot wound in Auvers. He doesn’t know that the dealer’s brother is a penniless misfit artist named Vincent, known to few and mourned by even fewer. Officialdom pronounces the death a suicide, but a few minutes at the scene convinces Holmes it was murder. And he’s bulldog-determined to discover why a penniless painter who harmed no one had to be killed–and who killed him. Who could profit from Vincent’s death? How is the murder entwined with his own forgery investigation? Holmes must retrace the last months of Vincent’s life, testing his mettle against men like the brutal Paul Gauguin and the secretive Toulouse-Lautrec, all the while searching for the girl Olympia, whom Vincent named with his dying breath. She can provide the truth, but can anyone provide the proof? From the madhouse of St. Remy to the rooftops of Paris, Holmes hunts a killer—while the killer hunts him.

London is in flux. The clop of the hansom cab has given way to the madness of the motorcar. And Sherlock Holmes, safe in the bee-loud glades of the Sussex downs, is lured back to London when a problem is posed to him by Dr. Watson and Watson’s friend, Col. Higgins. Is the transformation of Eliza Doolittle from girl of the streets to duchess more than it seems? Is it really the work of Henry Higgins’s phonetics lessons or has another girl been substituted for her, and why? Has the original girl been murdered? Even Eliza’s father can’t say for sure. Posing as a rich American gangster, Holmes infiltrates the Higgins household. He meets Freddy, a seemingly ubiquitous suitor, and the mysterious Baron Von Stettin, Bavarian attaché. He brushes up against a doctor whose potions can turn Eliza from a spitfire into a kitten. And he faces a deadly enemy who had been thought dead for twenty years. The world of Sherlock Holmes will never be the same.

trange Event in the Life of Schalken the Painter is a series of short stories by J. Sheridan Le Fanu. Mostly set in Ireland, they include some classic stories of gothic terror, with ominous castles, madness and suicide.

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Reflecting Walter Pater’s diverse engagements with literature, the visual arts, history, and philosophy, this collection of essays explores new interdisciplinary perspectives engaging readers and scholars alike to revisit methodologies, intertextualities, metaphysical positions, and stylistic features in the works of the Victorian essayist. A revised contextual portrait of Pater in Victorian culture questions representations of the detached aesthete. Current editorial and biographical projects show Pater as fully responsive to the emergence of modern consumer culture and the changes in readership in Britain and the United States. New critical views of rarely studied texts enhance the image of Pater as a cosmopolitan aesthete dialoguing with contemporary culture. Conceptual analysis of his texts brings new light to the aesthetic paradox embodied by Pater, between artistic detachment and immersion in the Heraclitean flux of life. Finally, aestheticism is redefined as proposing new artistic and linguistic synthesis by merging art forms and embracing interart poetics.

Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.