MARIETTA (A Maid Of Venice).—“The workshop, its processes, the ways and thought of the time, all this is handled in so masterly a manner, not for its own sake, but for that of the story.... It has charm and the romance which is eternally human, as well as that which was of the Venice of that day. And over it all there is an atmosphere of worldly wisdom, of understanding, sympathy, and tolerance, of intuition and recognition, that makes Marion Crawford the excellent companion he is in his books for mature men and women.”—New York Mail and Express.
CORLEONE (A Tale of Sicily).—The last of the famous Saracinesca Series.—“It is by far the most stirring and dramatic of all the author’s Italian stories.... The plot is a masterly one, bringing at almost every page a fresh surprise, keeping the reader in suspense to the very end.”—The Times, New York.
MR. ISAACS.—“It is lofty and uplifting. It is strongly, sweetly, tenderly written. It is in all respects an uncommon novel.”—The Literary World.
DR. CLAUDIUS.—“The characters are strongly marked without any suspicion of caricature, and the author’s ideas on social and political subjects are often brilliant and always striking. It is no exaggeration to say that there is not a dull page in the book, which is peculiarly adapted for the recreation of the student or thinker.”—Living Church.
A ROMAN SINGER.—“A powerful story of art and love in Rome.”—The New York Observer.
AN AMERICAN POLITICIAN.—“One of the characters is a visiting Englishman. Possibly Mr. Crawford’s long residence abroad has made him select such a hero as a safeguard against slips, which does not seem to have been needed. His insight into a phase of politics with which he could hardly be expected to be familiar is remarkable.”—Buffalo Express.
TO LEEWARD.—“It is an admirable tale of Italian life told in a spirited way and far better than most of the fiction current.”—San Francisco Chronicle.
ZOROASTER.—“As a matter of literary art solely, we doubt if Mr. Crawford has ever before given us better work than the description of Belshazzar’s feast with which the story begins, or the death-scene with which it closes.”—The Christian Union (now The Outlook).
A TALE OF A LONELY PARISH.—“It is a pleasure to have anything so perfect of its kind as this brief and vivid story. It is doubly a success, being full of human sympathy, as well as thoroughly artistic.”—The Critic.
MARZIO’S CRUCIFIX.—“We take the liberty of saying that this work belongs to the highest department of character-painting in words.”—The Churchman.