PAULINE BONAPARTE AND HER LOVERS—As revealed by contemporary witnesses, by her own love-letters, and by the anti-Napoleonic pamphleteers. By Hector Fleischmann. Authorised Translation. Illustrated. Demy 8vo. 12s. 6d. net.
⁂ “As long as human nature delights in the spectacle of dramatic vicissitudes, the story of the rise and fall of the House of Bonaparte will retain its fascination. The story of Napoleon himself, of course, is the story of genius seeing its opportunity and forcing its way; and its personal interest is somewhat obscured by its historical significance. The story of the various members of his family belongs to a different category. Their rise in life, due to his genius, which none of them shared, and his strong sense of the obligations of blood relationship, was as fortuitous as if they had suddenly “come into money” through the demise of a long-lost uncle in America; and the interest which one feels in them is largely the interest which one always feels in the behaviour of a parvenu in a station to which he has been promoted through no merit of his own. Some of them behaved decorously, others eccentrically and extravagantly; and it is the latter group which is the most diverting to read about. Jerome, for that reason, makes a more powerful appeal to our imagination than Joseph, and Pauline possesses a magnetic attraction denied to Madam Mere; and Pauline’s life is here related admirably by M. Fleischmann. She was more than frivolous, her “affaires” were countless. M. Fleischmann has told them admirably with a sparkling wit and a true feeling for drama.”—Times.
NAPOLEON’S LAST CAMPAIGN IN GERMANY. By F. Loraine Petre. Author of “Napoleon’s Campaign in Poland,” “Napoleon’s Conquest of Prussia,” etc. With 17 Maps and Plans. Demy 8vo. 12s. 6d. net.
NAPOLEON AT BAY, 1814. By F. Loraine Petre. With Maps and Plans, Demy 8vo. 10s. 6d. net.
THE STORY OF NAPOLEON’S DEATH MASK. By G. L. De St. M. Watson. Demy 8vo. 6s. net.
⁂ An historical and critical account of the most faithful and physical presentment of the great Conqueror. By a study of original sources and researches amongst the contemporary Press, the Lowe Papers, etc., the writer proves beyond the doubt hitherto existing the English authorship of the death mask so long a tributed to the Italian surgeon Antommarchi. The value to be attached to the various casts put up for sale during the past year or two is established comparatively in the light of an interesting recent discovery. The book will be an indispensable adjunct to Napoleonic iconography and a sidelight upon the “Last Phase” as well.
FOOTPRINTS OF FAMOUS AMERICANS IN PARIS. By John Joseph Conway, M.A. With 32 Full-page Illustrations. With an Introduction by Mrs. John Lane. Demy 8vo. 12s. 6d. net.
⁂ Franklin, Jefferson, Munroe, Tom Paine, La Fayette, Paul Jones, etc., etc., the most striking figures of a heroic age, working out in the City of Light the great questions for which they stood, are dealt with here. Longfellow the poet of the domestic affections; matchless Margaret Fuller who wrote so well of women in the nineteenth century; Whistler master of American artists; Saint-Gaudens chief of American sculptors; Rumford, most picturesque of scientific knight-errants and several others get a chapter each for their lives and achievements in Paris.
MEMORIES OF JAMES McNEILL WHISTLER: The Artist. By Thomas R. Way. Author of “The Lithographs of J. M. Whistler,” etc. With numerous Illustrations. Demy 4to. 10s. 6d. net.
⁂ This volume contains about forty illustrations, including an unpublished etching drawn by Whistler and bitten in by Sir Frank Short, A.R.A., an original lithograph sketch, seven lithographs in colour drawn by the Author upon brown paper, and many in black and white. The remainder are facsimiles by photolithography. In most cases the originals are drawings and sketches by Whistler which have never been published before, and are closely connected with the matter of the book. The text deals with the Author’s memories of nearly twenty year’s close association with Whistler, and he endeavours to treat only with the man as an artist, and perhaps, especially as a lithographer.