Art expert Fred Taylor is the agent for paranoid Beacon Hill collector Clayton Reed, a civilized man yet utterly ruthless collector. Fred supplies not only the brainwork, but the muscle, in their association. And from time to time, Fred either runs with, or outfoxes, the police.
It is the cops, in fact, who plunge him into his latest detection (after Harmony in Flesh and Black and Man with a Squirrel) by inviting him into a grisly murder scene. A decapitated corpse has been found alongside an Italian religious painting of the 17th Century. The body is clearly for the moment that of a John Doe, but can Fred identify the painting? Its subject is "Christ in Agony."
Though Reed warns Fred to stay away from the Baroque's fascination with martyrdom if he values his sanity, Fred is hooked by the mystery. Fighting a snowstorm paralyzing Boston, he researches the picture's provenance and establishes it is supposed to have miraculous properties. He also comes to suspect it makes up part of a collection of Old Masters being hawked around town that may all be fakes. If it's a fake, can it work any modern miracles? Moreover, who was it that died?
As the author reports, "Genuine art history is part of the plot...past mystery and history interlock with the present...if it's tough sometimes, it can still be funny." To move into erotica and brush against Victorian prudery, carry on with Dirty Linen. Kilmer is at work on a fifth novel, Lazarus, Arise.
Praise for O Sacred Head...
"Anyone who has ever wandered into a museum gallery of Italian religious paintings of the Baroque period and been repelled by the lurid depictions of flayed, flagellated, roasted, toasted, and crucified martyrs will laugh (and shudder) at Nicholas Kilmer's irreverent treatment...."
-New York Times Book Review
Art expert Fred Taylor is the agent for paranoid Beacon Hill collector Clayton Reed. Fred supplies the brainwork and the muscle in their association. And from time to time, Fred either runs with, or outfoxes, the police. Now the cops have called him to a grisly murder scene. A decapitated corpse has been found alongside a 17th century Italian religious painting of Christ in Agony. The body is unidentified, but the police, searching for clues to the murder, want Fred to identify the painting. Reed warns Fred to stay away, but Fred is hooked by the mystery. Fighting a snowstorm paralyzing Boston, he researches the picture's provenance and learns that it is rumored to have miraculous properties. He also comes to suspect it is part of a collection of possibly fake Old Masters being hawked around town. Fake or not, can this painting identify the man who died?
Nicholas Kilmer, formerly dean of the Swain School of Design in New Bedford, Massachusetts, presently makes his living in the art business.
