Inspector Leroux had witnessed the execution of the Phantom of the Opera. Justice had been served. So he thinks, until letters in a feminine hand arrive, hinting at the curious coincidence of a masked composer, Erik Costanzi, thriving in an Italian opera house and married to the former Parisian Diva, Meg Giry. Driven by outrage and a desire for revenge, the inspector tracks the Phantom to his new home. But there is another ghost from Erik's past, one who dogs the Phantom's steps, who sabotages the production of his newest opera, and who threatens the peace he has found with Meg and his family. Book IV, Phantom Death, is the last in the Phoenix of the Opera series. It continues and closes the story begun in The Phoenix of the Opera, and continued in Out of the Darkness: The Phantom's Journey and The Phantom's Opera.

Reproduction of the original.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Rare collection of Phantom Comics

"The Phantom Death, Etc" by William Clark Russell is a collection of stories that all center around life on the sea. Indeed, Russell is best known for his nautical writing, and this book is no different. Remarkably fresh in tone, these stories are full of adventure that engage readers from the moment they begin the first page and won't let them go until they're finished with the very last word.

Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image.