LAST NOCTURNE

More skulduggery high and low knocks at the door of a pair of Victorian enquiry agents.

Prostitution has never guaranteed a long life, but a rash of poisonings has taken London working girls at distressingly young ages. A year and a half ago, 17-year-old Mabel Glossop was discovered in Cremorne Gardens with a copy of Moby-Dick. Now she’s joined by Clara Jenkins, only four years older, posed with a copy of The Fruits of Philosophy. But it’s the third victim who’s the most shocking: Lt. Anstruther Peebles, found dead in woman’s apparel even though no one in his regiment would have suspected him of turning tricks. All three victims, it turns out, were artists’ models, and so is Evangeline French, discovered with a copy of John Ruskin’s King of the Golden River. The Ruskin novel is of special interest to American-born painter James McNeill Whistler, who’s already hired his compatriot Matthew Grand and his English counterpart James Batchelor to conduct a thorough investigation of his enemy Ruskin. The stakes rise, and the case broadens, when Whistler’s Nocturne in Blue and Gold is one of several paintings vandalized as they hang in the Grosvenor Gallery, which, as Ruskin’s ex-wife, Effie Gray, assures Grand’s inamorata, Lady Caroline Wentworth, everyone knows is haunted. Series fans will know better than to expect all these threads to be tightly wound up. But Trow piles on the society gossip, celebrity cameos, and blood and thunder with the panache of a pastry chef concocting a mega-calorie dessert.

Blink and you’ll miss the killer, who has to fight for attention with all the rest of the period mayhem.