London, 1867: Among the genteel young ladies of London society, painting is a perfectly acceptable pastime-but a woman who dares to pursue art as a profession is another prospect, indeed. Dr. Julia Lewis, familiar with the disrespect afforded women in untraditional careers, is hardly surprised when Scotland Yard shows little interest in complaints made by her friend, Mary Allingham, about a break-in at her art studio. Mary is just one of many "lady painters" being targeted by vandals.
Painters' sitters are vanishing, too-women viewed by some as dispensable outcasts. Inspector Richard Tennant, however, takes the attacks seriously, suspecting they're linked to the poison-pen letters received by other members of the Allingham family. For Julia, the issue is complicated by Tennant's previous relationship with Mary's sister-in-law, Louisa, and by her own surprising reaction to that entanglement.
But when someone close to them commits suicide and a woman turns up dead, the case can no longer be so easily ignored by "respectable" society. Layer after layer, Julia and Tennant scrape away the facts of the case like paint from a canvas. What emerges is a somber picture of vice, depravity, and deception stretching from London's East End to the Far East-with a killer at its center, determined to get away with one last, grisly murder...
Henrietta Meire's upbeat delivery is strangely suited to this moody Victorian mystery. Dr. Julia Lewis is a crusader for women's rights at a time when women weren't accepted in traditionally male professions. Mary Allingham, a "lady painter," tells Julia that law enforcement has dismissed as unimportant the recent break-ins at her art studio, which she shares with other women. In addition, many of
