Dear lady (it said), I am the victim of the most absurd and annoying mistake. I have been arrested for Schirmer, the betting man who murdered his mother-in-law and escaped from Paris yesterday. They will not let me communicate with any one till to-morrow morning and I have had great trouble in getting this line to you. For heaven's sake bring Schreiermeyer and anybody else you can find, to identify me, as soon as possible. I am locked up in a cell in the police station of the Third Arrondissement.——Yours ever,C. Logotheti.
Dear lady (it said), I am the victim of the most absurd and annoying mistake. I have been arrested for Schirmer, the betting man who murdered his mother-in-law and escaped from Paris yesterday. They will not let me communicate with any one till to-morrow morning and I have had great trouble in getting this line to you. For heaven's sake bring Schreiermeyer and anybody else you can find, to identify me, as soon as possible. I am locked up in a cell in the police station of the Third Arrondissement.——
Yours ever,
C. Logotheti.
Madame Bonanni looked at the woman again.
'Did you see the gentleman?' she asked.
'What gentleman?'
'The gentleman who is in prison!'
'What prison?' asked the woman with dogged stupidity.
'You're a perfect idiot!' cried Madame Bonanni, and she slammed the door of the box in the woman's face, and bolted it inside.
She sat down and read the note a fourth time. There was no doubt as to its being really from Logotheti. She laughed to herself.
'More ingenious than ever!' she said, half aloud.
A timid knock at the door of the box. She rose with evident annoyance, and opened again, to meet the respectable old box-opener, a grey-haired woman of fifty-five.
'Please, Madame, is the woman to go away? She seems to be waiting for something.'
'Tell her to go to all the devils!' answered Madame Bonanni, furious. 'No—don't!' she cried. 'Where is she? Come here, you!' she called, seeing the woman at a little distance. 'Do you know what you are doing? You are trying to help Schirmer, the murderer, to escape. If you are not careful you will be in prison yourself before morning! That is the answer! Now go, and take care that you are not caught!'
The woman, who was certainly not over-intelligent, stared hard at Madame Bonanni for a moment, and then turned, with a cry of terror, and fled along the circular passage.
'You should not let in such suspicious-looking people,' said Madame Bonanni to the box-opener in a severe tone.
The poor soul began an apology, but Madame Bonanni did not stop to listen, and entered the box again, shutting the door behind her.
The curtain went up before Lushington came back, but the prima donna did not look at the stage and scarcely heard the tenor's lament, the chorus and the rest. She seemed quite lost in her thoughts. Then Lushington appeared with a big dark cloak on his arm.
'Will this do, mother?' he asked.
She stood up and made him put it over her. It had a hood, as she had wished, which quite covered her head and would cover her face, too, if she wished not to be recognised.
'It's just what I wanted,' she said. 'Hang it on the hook by the door, and sit down. Gilda will be on in a minute.'
Lushington obeyed, and if he wondered a little at first why his mother should want a big cloak on a suffocating evening in July, he soon forgot all about it in listening to Margaret's duet with Rigoletto. His mother sat perfectly motionless in her seat, her eyes closed, following every note.
At the end of the short act, the applause became almost riotous, and if Margaret had appeared before the curtain she would have had an ovation. But in the first place, it was only a rehearsal, after all, and secondly there was no one to call her back after she had gone to her dressing-room to dress for the last act. She heard the distant roar, however, and felt the tide of triumph rising still higher round her heart. If she had been used to her cadaverous maid, too, she would have seen that the woman's manner was growing more deferential each time she saw her. Success was certain, now, a great and memorable success, which would be proclaimed throughout the world in a very few days. The new star was rising fast, and it was the sallow-faced maid's business to serve stars and no others.
For the first scene of the last act Gilda puts on a gown over her man's riding-dress; and when Rigoletto sends her off, she has only to drop the skirt, draw on the long boots and throw her riding-cloak round her to come on for the last scene. Of course the prima donna is obliged to come back to her dressing-room to make even this slight change.
Madame Bonanni was speaking earnestly to Lushington in an undertone during the interval before the last act, and as he listened to what she said his face became very grave, and his lips set themselves together in a look which his mother knew well enough.
The act proceeded, and Margaret's complete triumph became more and more a matter of certainty. She sang with infinite grace and tenderness that part in the quartet which is intended to express the operatic broken heart, while the Duke, the professional murderer, and Maddalena are laughing and talking inside the inn. That sort of thing does not appeal much to our modern taste, but Margaret did what she could to make it touching, and was rewarded with round upon round of applause.
Lushington rose quietly at this point, slipped on his thin overcoat, took his hat and the big cloak he had bought, nodded to his mother and left the box. A few moments later she rose and followed him.
In due time Margaret reappeared in her man's dress, but almost completely wrapped in the traditional riding mantle. Rigoletto is off when Gilda comes on alone at this point, outside the inn, and the stage gradually darkens while the storm rises. When the trio is over and Gilda enters the ruined inn, the darkness is such, even behind the scenes, that one may easily lose one's way and it is hard to recognise any one.
Margaret disappeared, and hurried off, expecting to meet her maid with the sack ready for the final scene. To her surprise a man was standing waiting for her. She could not see his face at all, but she knew it was Lushington who whispered in her ear as he wrapped her in the big cloak he carried. He spoke fast and decidedly.
'That is why the door at the end of the corridor is open to-night,' he concluded. 'I give you my word that it's true. Now come with me.'
Margaret had told Lushington not very long ago that he always acted like a gentleman and sometimes like a hero, and she had meant it. After all, the opera was over now, and it was only a rehearsal. If there was no sack scene, no one would be surprised, and there was no time to hesitate not an instant.
She slipped her arm through Lushington's, and drawing the hood almost over her eyes with her free hand and the cloak completely round her, she went where he led her. Certainly in all the history of the opera no prima donna ever left the stage and the theatre in such a hurry after her first appearance.
One minute had hardly elapsed in all after she had disappeared into the ruined inn, before she found herself driving at a smart pace in a closed carriage, with Lushington sitting bolt upright beside her like a policeman in charge of his prisoner. It was not yet quite dark when the brougham stopped at the door of Margaret's hotel, and the porter who opened the carriage looked curiously at her riding boot and spurred heel as she got out under the covered way. She and Lushington had not exchanged a word during the short drive.
He went up in the lift with her and saw her to the door of her apartment. Then he stood still, with his hat off, holding out his hand to say good-bye.
'No,' said Margaret, 'come in. I don't care what the people think!'
He followed her into her sitting-room, and she shut the door, and turned up the electric light. When he saw her standing in the full glare of the lamps, she had thrown back her hood; she wore a wig with short tangled hair as part of her man's disguise, and her face was heavily powdered over the paint in order to produce the ghastly pallor which indicates a broken heart on the stage. The heavily-blackened lashes made her eyes seem very dark, while her lips were still a deep crimson. She held her head high, and a little thrown back, and there was something wild and almost fantastic about her looks as she stood there, that made Lushington think of one of Hoffmann's tales. She held out her whitened hand to him; and when he took it he felt the chalk on it, and it was no longer to him the hand of Margaret Donne, but the hand of the Cordova, the great soprano.
'It's of no use,' she said. 'Something always brings us together. I believe it's our fate. Thank you for what you've just done. Thank you—Tom, with all my heart!'
And suddenly the voice was Margaret's, and rang true and kind. For had he not saved her, and her career, too, perhaps? She could not but be grateful, and forget her other triumphant self for a moment. There was no knowing where that mad Greek might have taken her if she had gone near the door in the corridor again; it would have been somewhere out of Europe, to some lawless Eastern country whence she could never have got back to civilisation again.
'You must thank my mother,' Lushington answered quietly. 'It was she who found out the danger and told me what to do. But I'm glad you're safe from that brute!'
He pressed the handsome, chalked hand in his own and then to his lips when he had spoken, in a very un-English way; for, after all, he was the son of Madame Bonanni, the French singer, and only half an Anglo-Saxon.
The last thing Madame Bonanni remembered, before a strangely sweet and delicious perfume had overpowered her senses, was that she had congratulated herself on not having believed that Logotheti was really in prison, arrested by a mistake. How hugely ingenious he had been, she thought, in trying to get poor Margaret's best friends out of the way! But at that point, while she felt herself being carried along in the sack as swiftly and lightly as if she had been a mere child, she suddenly fell asleep.
She never had any idea how long she was unconscious, but she afterwards calculated that it must have been between twenty minutes and half an hour, and she came to herself just as she felt that she was being laid in a comfortable position on a luxuriously cushioned sofa.
She heard heavy retreating footsteps, and then she felt that a hand was undoing the mouth of the sack above her head.
'Dearest lady,' said a deep voice, with a sort of oily, anticipative gentleness in it, 'can you forgive me my little stratagem?'
The voice spoke very softly, as if the speaker were not at all sure that she was awake; but when she heard it, Madame Bonanni started, for it was certainly not the voice of Constantine Logotheti, though it was strangely familiar to her.
The sack was drawn down from her face quickly and skilfully. At the same time some slight sound from the door of the room made the man look half round.
In the softly lighted room, against the pale silk hangings, Madame Bonanni saw a tremendous profile over a huge fair beard that was half grey, and one large and rather watery blue eye behind a single eyeglass with a broad black riband. Before the possessor of these features turned to look at her, she uttered a loud exclamation of amazement. Logotheti was really in prison, after all.
Instantly the watery blue eyes met her own. Then the eyeglass dropped from its place, the jaw fell, with a wag of the fair beard, and a look of stony astonishment and blank disappointment came into all the great features, while Madame Bonanni broke into a peal of perfectly uncontrollable laughter.
And with the big-hearted woman's laugh ends the first part of this history.
THE END
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONSRe-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty—and handsomely bound in cloth. Price, 75 cents a volume, postpaid.THE SHUTTLE, By Frances Hodgson BurnettWith inlay cover in colors by Clarence F. Underwood.This great international romance relates the story of an American girl who, in rescuing her sister from the ruins of her marriage to an Englishman of title, displays splendid qualities of courage, tact and restraint. As a study of American womanhood of modern times, the character of Bettina Vanderpoel stands alone in literature. As a love story, the account of her experience is magnificent. The masterly handling, the glowing style of the book, give it a literary rank to which very few modern novels have attained.THE MAKING OF A MARCHIONESS, By Frances Hodgson BurnettIllustrated with half tone engravings by Charles D. Williams. With initial letters, tail-pieces, decorative borders. Beautifully printed, and daintily bound, and boxed.A delightful novel in the author's most charming vein. The scene is laid in an English country house, where an amiable English nobleman is the centre of matrimonial interest on the part of both the English and Americans present.Graceful, sprightly, almost delicious in its dialogue and action. It is a book about which one is tempted to write ecstatically.THE METHODS OF LADY WALDERHURST, By Francis Hodgson BurnettA Companion Volume to "The Making of Marchioness."With illustrations by Charles D. Williams, and with initial letters, tail-pieces, and borders, by A. K. Womrath. Beautifully printed and daintily bound, and boxed."The Methods of Lady Walderhurst" is a delightful story which combines the sweetness of "The Making of a Marchioness," with the dramatic qualities of "A Lady of Quality." Lady Walderhurst is one of the most charming characters in modern fiction.VAYENNE, By Percy BrebnerWith illustrations by E. Fuhr.This romance like the author'sThe Princess Maritzais charged to the brim with adventure. Sword play, bloodshed, justice grown the multitude, sacrifice, and romance, mingle in dramatic episodes that are born, flourish, and pass away on every page.GROSSET & DUNLAP, Publishers, NEW YORK
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONS
Re-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty—and handsomely bound in cloth. Price, 75 cents a volume, postpaid.
THE SHUTTLE, By Frances Hodgson Burnett
With inlay cover in colors by Clarence F. Underwood.
This great international romance relates the story of an American girl who, in rescuing her sister from the ruins of her marriage to an Englishman of title, displays splendid qualities of courage, tact and restraint. As a study of American womanhood of modern times, the character of Bettina Vanderpoel stands alone in literature. As a love story, the account of her experience is magnificent. The masterly handling, the glowing style of the book, give it a literary rank to which very few modern novels have attained.
THE MAKING OF A MARCHIONESS, By Frances Hodgson Burnett
Illustrated with half tone engravings by Charles D. Williams. With initial letters, tail-pieces, decorative borders. Beautifully printed, and daintily bound, and boxed.
A delightful novel in the author's most charming vein. The scene is laid in an English country house, where an amiable English nobleman is the centre of matrimonial interest on the part of both the English and Americans present.
Graceful, sprightly, almost delicious in its dialogue and action. It is a book about which one is tempted to write ecstatically.
THE METHODS OF LADY WALDERHURST, By Francis Hodgson Burnett
A Companion Volume to "The Making of Marchioness."
With illustrations by Charles D. Williams, and with initial letters, tail-pieces, and borders, by A. K. Womrath. Beautifully printed and daintily bound, and boxed.
"The Methods of Lady Walderhurst" is a delightful story which combines the sweetness of "The Making of a Marchioness," with the dramatic qualities of "A Lady of Quality." Lady Walderhurst is one of the most charming characters in modern fiction.
VAYENNE, By Percy Brebner
With illustrations by E. Fuhr.
This romance like the author'sThe Princess Maritzais charged to the brim with adventure. Sword play, bloodshed, justice grown the multitude, sacrifice, and romance, mingle in dramatic episodes that are born, flourish, and pass away on every page.
GROSSET & DUNLAP, Publishers, NEW YORK
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONSRe-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty and handsomely bound in cloth. Price, 75 cents a volume, postpaid.A SIX-CYLINDER COURTSHIP, By Edw. Salisbury FieldWith a color frontispiece by Harrison Fisher, and illustrations by Clarence F. Underwood, decorated pages and end sheets. Harrison Fisher head in colors on cover. Boxed.A story of cleverness. It is a jolly good romance of love at first sight that will be read with undoubted pleasure. Automobiling figures in the story which is told with light, bright touches, while a happy gift of humor permeates it all."The book is full of interesting folks. The patois of the garage is used with full comic and realistic effect, and effervescently, culminating in the usual happy finish."—St. Louis Mirror.AT THE FOOT OF THE RAINBOW, By Gene Stratton-Porter Author of "FRECKLES"With illustrations in color by Oliver Kemp, decorations by Ralph Fletcher Seymour and inlay cover in colors.The story is one of devoted friendship, and tender self-sacrificing love; the friendship that gives freely without return, and the love that seeks first the happiness of the object. The novel is brimful of the most beautiful word painting of nature and its pathos and tender sentiment will endear it to all.JUDITH OF THE CUMBERLANDS, By Alice MacGowanWith illustrations in colors, and inlay cover by George Wright.No one can fail to enjoy this moving tale with its lovely and ardent heroine, its frank, fearless hero, its glowing love passages, and its variety of characters, captivating or engaging humorous or saturnine, villains, rascals, and men of good will. A tale strong and interesting in plot, faithful and vivid as a picture of wild mountain life, and in its characterization full of warmth and glow.A MILLION A MINUTE, By Hudson DouglasWith illustrations by Will Grefe.Has the catchiest of titles, and it is a ripping good tale from Chapter I to Finis—no weighty problems to be solved, but just a fine running story, full of exciting incidents, that never seemed strained or improbable. It is a dainty love yarn involving three men and a girl. There is not a dull or trite situation in the book.GROSSET & DUNLAP, Publishers, NEW YORK
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONS
Re-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty and handsomely bound in cloth. Price, 75 cents a volume, postpaid.
A SIX-CYLINDER COURTSHIP, By Edw. Salisbury Field
With a color frontispiece by Harrison Fisher, and illustrations by Clarence F. Underwood, decorated pages and end sheets. Harrison Fisher head in colors on cover. Boxed.
A story of cleverness. It is a jolly good romance of love at first sight that will be read with undoubted pleasure. Automobiling figures in the story which is told with light, bright touches, while a happy gift of humor permeates it all.
"The book is full of interesting folks. The patois of the garage is used with full comic and realistic effect, and effervescently, culminating in the usual happy finish."—St. Louis Mirror.
AT THE FOOT OF THE RAINBOW, By Gene Stratton-Porter Author of "FRECKLES"
With illustrations in color by Oliver Kemp, decorations by Ralph Fletcher Seymour and inlay cover in colors.
The story is one of devoted friendship, and tender self-sacrificing love; the friendship that gives freely without return, and the love that seeks first the happiness of the object. The novel is brimful of the most beautiful word painting of nature and its pathos and tender sentiment will endear it to all.
JUDITH OF THE CUMBERLANDS, By Alice MacGowan
With illustrations in colors, and inlay cover by George Wright.
No one can fail to enjoy this moving tale with its lovely and ardent heroine, its frank, fearless hero, its glowing love passages, and its variety of characters, captivating or engaging humorous or saturnine, villains, rascals, and men of good will. A tale strong and interesting in plot, faithful and vivid as a picture of wild mountain life, and in its characterization full of warmth and glow.
A MILLION A MINUTE, By Hudson Douglas
With illustrations by Will Grefe.
Has the catchiest of titles, and it is a ripping good tale from Chapter I to Finis—no weighty problems to be solved, but just a fine running story, full of exciting incidents, that never seemed strained or improbable. It is a dainty love yarn involving three men and a girl. There is not a dull or trite situation in the book.
GROSSET & DUNLAP, Publishers, NEW YORK
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONSRe-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty—and handsomely bound in cloth. Price, 75 cents a volume, postpaid.CONJUROR'S HOUSE, By Stewart Edward WhiteDramatized under the title of "THE CALL OF THE NORTH."Illustrated from Photographs of Scenes from the Play.Conjuror's Houseis a Hudson Bay trading port where the Fur Trading Company tolerated no rivalry. Trespassers were sentenced to "La Longue Traverse"—which meant official death. How Ned Trent entered the territory, tookla longue traverse, and the journey down the river of life with the factor's only daughter is admirably told. It is a warm, vivid, and dramatic story, and depicts the tenderness and mystery of a woman's heart.ARIZONA NIGHTS, By Stewart Edward White.With illustrations by N. C. Wyeth, and beautiful inlay cover.A series of spirited tales emphasizing some phase of the life of the ranch, plains and desert, and all, taken together, forming a single sharply-cut picture of life in the far Southwest. All the tonic of the West is in this masterpiece of Stewart Edward White.THE MYSTERY, By Stewart Edward White and Samuel Hopkins AdamsWith illustrations by Will Crawford.For breathless interest, concentrated excitement and extraordinarily good storytelling on all counts, no more completely satisfying romance has appeared for years. It has been voted the best story of its kind sinceTreasure Island.LIGHT-FINGERED GENTRY. By David Graham PhillipsWith illustrations.Mr. Phillips has chosen the inside workings of the great insurance companies as his field of battle; the salons of the great Fifth Avenue mansions as the antechambers of his field of intrigue; and the two things which every natural, big man desires, love and success, as the goal of his leading character. The book is full of practical philosophy, which makes it worth careful reading.THE SECOND GENERATION, By David Graham PhillipsWith illustrations by Fletcher C. Ramson, and inlay cover."It is a story that proves how, in some cases, the greatest harm a rich man may do his children, is to leave them his money. A strong, wholsome story of contemporary American life—thoughtful, well-conceived and admirably written; forceful, sincere, and true; and intensely interesting."—Boston Herald.GROSSET & DUNLAP, Publishers, NEW YORK
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONS
Re-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty—and handsomely bound in cloth. Price, 75 cents a volume, postpaid.
CONJUROR'S HOUSE, By Stewart Edward White
Dramatized under the title of "THE CALL OF THE NORTH."
Illustrated from Photographs of Scenes from the Play.
Conjuror's Houseis a Hudson Bay trading port where the Fur Trading Company tolerated no rivalry. Trespassers were sentenced to "La Longue Traverse"—which meant official death. How Ned Trent entered the territory, tookla longue traverse, and the journey down the river of life with the factor's only daughter is admirably told. It is a warm, vivid, and dramatic story, and depicts the tenderness and mystery of a woman's heart.
ARIZONA NIGHTS, By Stewart Edward White.
With illustrations by N. C. Wyeth, and beautiful inlay cover.
A series of spirited tales emphasizing some phase of the life of the ranch, plains and desert, and all, taken together, forming a single sharply-cut picture of life in the far Southwest. All the tonic of the West is in this masterpiece of Stewart Edward White.
THE MYSTERY, By Stewart Edward White and Samuel Hopkins Adams
With illustrations by Will Crawford.
For breathless interest, concentrated excitement and extraordinarily good storytelling on all counts, no more completely satisfying romance has appeared for years. It has been voted the best story of its kind sinceTreasure Island.
LIGHT-FINGERED GENTRY. By David Graham Phillips
With illustrations.
Mr. Phillips has chosen the inside workings of the great insurance companies as his field of battle; the salons of the great Fifth Avenue mansions as the antechambers of his field of intrigue; and the two things which every natural, big man desires, love and success, as the goal of his leading character. The book is full of practical philosophy, which makes it worth careful reading.
THE SECOND GENERATION, By David Graham Phillips
With illustrations by Fletcher C. Ramson, and inlay cover.
"It is a story that proves how, in some cases, the greatest harm a rich man may do his children, is to leave them his money. A strong, wholsome story of contemporary American life—thoughtful, well-conceived and admirably written; forceful, sincere, and true; and intensely interesting."—Boston Herald.
GROSSET & DUNLAP, Publishers, NEW YORK
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONSRe-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty—and handsomely bound in cloth. Price, 75 cents a volume, postpaid.NEW CHRONICLES OF REBECCA, By Kate Douglas WigginWith illustrations by F. C. Yohn.Additional episodes in the girlhood of the delightful little heroine at Riverboro which were not included in the story of "Rebecca of Sunnybrook Farm," and they are as characteristic and delightful as any part of that famous story. Rebecca is as distinct a creation in the second volume as in the first.THE SILVER BUTTERFLY, By Mrs. Wilson WoodrowWith illustrations in colors by Howard Chandler Christy.A story of love and mystery, full of color, charm, and vivacity, dealing with a South American mine, rich beyond dreams, and of a New York maiden, beyond dreams beautiful—both known as the Silver Butterfly. Well named isThe Silver Butterfly! There could not be a better symbol of the darting swiftness, the eager love plot, the elusive mystery and the flashing wit.BEATRIX OF CLARE, By John Reed ScottWith illustrations by Clarence F. Underwood.A spirited and irresistibly attractive historical romance of the fifteenth century, boldly conceived and skilfully carried out. In the hero and heroine Mr. Scott has created a pair whose mingled emotions and alternating hopes and fears will find a welcome in many lovers of the present hour. Beatrix is a fascinating daughter of Eve.A LITTLE BROTHER OF THE RICH, By Joseph Medill PattersonFrontispiece by Hazel Martyn Trudeau, and illustrations by Walter Dean Goldbeck.Tells the story of the idle rich, and is a vivid and truthful picture of society and stage life written by one who is himself a conspicuous member of the Western millionaire class. Full of grim satire, caustic wit and flashing epigrams. "Is sensational to a degree in its theme, daring in its treatment, lashing society as it was never scourged before."—New York Sun.GROSSET & DUNLAP, Publishers, NEW YORK
FAMOUS COPYRIGHT BOOKSIN POPULAR PRICED EDITIONS
Re-issues of the great literary successes of the time. Library size. Printed on excellent paper—most of them with illustrations of marked beauty—and handsomely bound in cloth. Price, 75 cents a volume, postpaid.
NEW CHRONICLES OF REBECCA, By Kate Douglas Wiggin
With illustrations by F. C. Yohn.
Additional episodes in the girlhood of the delightful little heroine at Riverboro which were not included in the story of "Rebecca of Sunnybrook Farm," and they are as characteristic and delightful as any part of that famous story. Rebecca is as distinct a creation in the second volume as in the first.
THE SILVER BUTTERFLY, By Mrs. Wilson Woodrow
With illustrations in colors by Howard Chandler Christy.
A story of love and mystery, full of color, charm, and vivacity, dealing with a South American mine, rich beyond dreams, and of a New York maiden, beyond dreams beautiful—both known as the Silver Butterfly. Well named isThe Silver Butterfly! There could not be a better symbol of the darting swiftness, the eager love plot, the elusive mystery and the flashing wit.
BEATRIX OF CLARE, By John Reed Scott
With illustrations by Clarence F. Underwood.
A spirited and irresistibly attractive historical romance of the fifteenth century, boldly conceived and skilfully carried out. In the hero and heroine Mr. Scott has created a pair whose mingled emotions and alternating hopes and fears will find a welcome in many lovers of the present hour. Beatrix is a fascinating daughter of Eve.
A LITTLE BROTHER OF THE RICH, By Joseph Medill Patterson
Frontispiece by Hazel Martyn Trudeau, and illustrations by Walter Dean Goldbeck.
Tells the story of the idle rich, and is a vivid and truthful picture of society and stage life written by one who is himself a conspicuous member of the Western millionaire class. Full of grim satire, caustic wit and flashing epigrams. "Is sensational to a degree in its theme, daring in its treatment, lashing society as it was never scourged before."—New York Sun.
GROSSET & DUNLAP, Publishers, NEW YORK