This book provides fascinating insight into C. F. Meyer’s inclusion of visual-spatial artworks in his narrative texts. It pinpoints what is most uniquely characteristic of Meyer’s means of representing works of art, and offers fruitful comparisons with contemporaries such as Nathaniel Hawthorne. The book takes a fresh look at Meyer’s historical realism, and elucidates how his reconstructions of European history reflect his problematic borderline stance as a multilingual Swiss and a Protestant aesthete.