The Beast of Gévaudan, which once plunged France into terror, has risen again in the nineteenth century. As Vanitas and the others investigate the relationship between the Beast and the vampires, they find their way barred by the paladin Astolfo and Jeanne, the Hellfire Witch. Who is it that laughs in a world blanketed white...?
Deep within the bowels of Paris, Noé and Vanitas race through the catacombs with an elite team of Chasseurs, the Church's anti-vampire unit, in hot pursuit. Their search for the missing vampires takes the pair down a path all too familiar to Vanitas, bringing them face-to-face with not only an overwhelming curse-bearer but also Vanitas's past. Confronted by the horrific menace, what will Noé and Vanitas fight for, and whom will they save...?
The masked ball has ended, but the music plays on. As Noe and Vanitas return disgraced from Altus, the curtain rises on a new battle. News of kidnapped curse-bearers sends the pair to the catacombs beneath the streets of Paris, where a melody of intrigue echoes and a superhuman foe awaits! Humans or vampires: Who will be the hunter, and who the hunted?
Step once more into the imagination of Jun Mochizuki, creator of New York Times-bestselling PandoraHearts! A tale of vampires and curses set in a whimsical and dark steampunk Paris unfolds! On the streets, rumors abound of a clockwork grimoire said to sow curses among the vampires. Now, guided by the Book of Vanitas, the gears begun to turn, and the story of two men, Noe and Vanitas, takes shape...
Now installed at a hotel in Paris with the help of Count Orlok, Noé and Vanitas take their awkward partnership on the road...to a vampire masquerade ball! The order of the evening may be small talk and hobnobbing with fellow guests, but the mystery of the curse-bearers is never far behind. Intrigue swirls as quickly as the dancers twirl, a blue moon ascends over the guests...and all hell breaks loose!
On the trail of the Beast of Gévaudan, Vanitas and Noé are led to the heart of the incident and the noble house of d'Apchier. There, they discover that a brave, heartrending wish to save a daughter from a vampire's fate became the haunting first cry of the Beast itself...
This reference work covers American still-life painting from the beginning of the 19th century, when it became a well-known medium of expression, to the mid-20th century. Among the artists Gerdts analyzes are those who worked with still life extensively and those who painted them only occasionally, including the Peales, Severin Roesen, Samuel Marsden Brooks, William Michael Harnett, and Georgia O'Keeffe. The effects on this form of such movements as realism, impressionism, tonalism, orphism, and modernism are discussed in detail. The study concludes with 1939, when American art began to be dominated by abstraction.