Flavia and her friends are on a quest for the Emperor Titus - to steal a valuable gemstone known as 'Nero's Eye'. The Delphic Oracle prophesied that whoever owns the gem will rule Rome - so Titus is determined to claim it for himself. Their travels take them across the Roman province of Mauretania, from Sabratha (in modern Libya) to Volubilis (Morocco). As they travel on a caravan across the desert they encounter slave-traders, pantomime actors and a wild animal stampede. The detectives must consider another quest: what has happened to Uncle Gaius? Meanwhile, Flavia faces some tough decisions about her future.

Flavia and her friends are on a quest for the Emperor Titus - to steal a valuable gemstone known as 'Nero's Eye'. The Delphic Oracle prophesied that whoever owns the gem will rule Rome - so Titus is determined to claim it for himself. Their travels take them across the Roman province of Mauretania, from Sabratha (in modern Libya) to Volubilis (Morocco). As they travel on a caravan across the desert they encounter slave-traders, pantomime actors and a wild animal stampede. The detectives must consider another quest: what has happened to Uncle Gaius? Meanwhile, Flavia faces some tough decisions about her future.

Flavia and her friends are on a quest for the Emperor Titus - to steal a valuable gemstone known as 'Nero's Eye'. The Delphic Oracle prophesied that whoever owns the gem will rule Rome - so Titus is determined to claim it for himself. Their travels take them across the Roman province of Mauretania, from Sabratha (in modern Libya) to Volubilis (Morocco). As they travel on a caravan across the desert they encounter slave-traders, pantomime actors and a wild animal stampede. The detectives must consider another quest: what has happened to Uncle Gaius? Meanwhile, Flavia faces some tough decisions about her future.

A desperate quest begins in the port of Alexandria: site of the great lighthouse, the famous Library, and the tomb of Alexander the Great. Codes, riddles, anagrams and hieroglyphics lead the young detectives down the river Nile to pyramids and sphinxes, temples and tombs, crocodiles and hippos. But what lies at the end of the journey? Treasure? Or death?

September AD 81. Flavia and her friends learn of the mysterious and sudden death of the Emperor Titus. Was his death natural? Or was it murder? As the four detectives investigate this mystery, they little dream how much their lives - as well as the future of Italy - will be changed as a result.

Suspecting their friend Jonathan is alive, Flavia, Nubia, and Lupus go to Rome for the Colosseum Games, facing wild beasts, criminals, conspirators, and gladiators, and where Nubia is called upon to make a terrible choice.

When a Roman widow shows unusual interest in Flavia's father, Flavia decides to discover Cartila's true motives by performing twelve tasks, just like the Greek hero Hercules.

Mystery and adventure for four young detectives in Ancient Roman times... It's summer in the Bay of Naples - time for fun and relaxation. Everyone is thinking about love at the beautiful Villa Limona, but danger lurks beneath the luxury. A famous murder was committed nearby, and a poisoner is at large amongst the guests. Can Flavia and her friends set a trap to catch the culprit before it's too late?

A fresh, new translation of Augustine’s inaugural work as a Christian convert The first four works written by St. Augustine of Hippo after his conversion to Christianity are the remarkable “Cassiciacum dialogues.” In this first dialogue, expertly translated by Michael Foley, Augustine and his interlocutors explore the history and teachings of Academic skepticism, which Augustine is both sympathetic to and critical of. The dialogue serves as a fitting launching point for a knowledge of God and the soul, the overall subject of the Cassiciacum tetralogy.

Reception studies have transformed the classics. Many more literary and cultural texts are now regarded as 'valid' for classical study. And within this process of widening, children's literature has in its turn emerged as being increasingly important. Books written for children now comprise one of the largest and most prominent bodies of texts to engage with the classical world, with an audience that constantly changes as it grows up. This innovative volume wrestles with that very characteristic of change which is so fundamental to children's literature, showing how significant the classics, as well as classically-inspired fiction and verse, have been in tackling the adolescent challenges posed by metamorphosis. Chapters address such themes as the use made by C S Lewis, in The Horse and his Boy, of Apuleius' The Golden Ass; how Ovidian myth frames the Narnia stories; classical 'nonsense' in Edward Lear; Pan as a powerful symbol of change in children's literature, for instance in The Wind in the Willows; the transformative power of the Orpheus myth; and how works for children have handled the teaching of the classics.