Reproduction of the original: Johnny Ludlow by Mrs. Henry Wood

Our old gray church at Church Dykely stood in a solitary spot. Servant maids (two of ours once, Hannah and Molly), and silly village girls went there sometimes to watch for the "shadows" on St. Mark's Eve, and owls had a habit of darting out of the belfry at night. Within view of the church, though at some distance from it, stood the lonely, red-brick, angular dwelling-house belonging to Copse Farm. It was inhabited by Mr. Page, a plain worthy widower, getting in years; his three daughters and little son. Abigail and Susan Page, two experienced, sensible, industrious young women, with sallow faces and bunches of short dark curls, were at this period, about midway between twenty and thirty: Jessy, very much younger, was gone out to get two years' "finishing" at a plain boarding-school; Charles, the lad, had bad health and went to school by day at Church Dykely.

Reprint of the original, first published in 1874.

The essays in this revised and expanded volume explore a variety of structuring taxonomies, the relationships between the aesthetic forms, styles and methodologies of detective and crime fiction in the late-Victorian and Edwardian period. The influences on the artists in the genre are as varied as the interests of the period in scientific method, forensics, archaeology, aesthetics, medicine, and the paranormal. But the formalizing tendencies of investigative process remain, and it is this adherence, in artist and detective alike, to seeing crime and its resolution as a stylistic imposition of structure on disorder that is under examination.