Douglas Johnson

In January 1798 Talleyrand gave a magnificent ball designed to honour Josephine, who had married Bona- parte two years earlier. Everyone who mattered in Paris was there, whether old nobility or former terrorists.

No one wants to write a history of Paris from Caesar to Sarkozy. Histories that are largely political, which tell the story of the city’s expanding boundaries, endless wars and growing importance within France as a whole tend to be tedious. Most authors try to show that the history of Paris is special, involving a multiplicity of subjects and demanding sentiment and admiration. Colin Jones is determined that his history should demonstrate the richness and complexity of the city. One gains the impression from his introduction that he will surprise the reader, for he begins with a quotation from the avant-garde writer George Perec who, in 1975, spent three days watching the Place Saint-Sulpice.

Ian Davidson begins his book by telling us that Voltaire is a famous writer but that his work is largely unknown. True, his plays are no longer performed and his poems are no longer read. But when he tells us that his historical works are also ignored, those of us for whom Siècle de Louis Quatorze and Essai sur les moeurs are outstanding must surely protest. That said, however, the section in which we are told what is still important in Voltaire is more acceptable. Firstly, he mentions Candide. This philosophical tale is singled out for praise, described as the author’s greatest and most enduring masterpiece. Then there are his letters.

The Museum of the French Resistance in Brittany lies just outside Saint-Marcel in the Morbihan department, near to Malestroit. It is extensive and consists of a number of buildings situated in a large wooded park. But what makes it special is that it covers the site of the battle of 18 June 1944 which was fought between the Germans and various French and British Resistance forces, including those organised by the Special Operations Executive (SOE) that had been created in July 1940 to ‘set Europe ablaze’. This was one of the great Resistance battles in which 560 German soldiers were killed, in contrast to 42 Resistance fighters. André Hue, who in the Museum and its publications is referred to as Hunter Hue, took part in the battle.

Abelard has been made to play many roles in French history. In 1796 Alexandre Lenoir created the first museum of French national monuments. The French Revolution had abolished the past, but they thought that the French people should know about it. So the tombs of the French kings illustrated the continuity of French history, and alongside their magnificence the pathetic remains of Abelard and Heloise demonstrated the wickedness of the Ancien Régime. Those who visited the museum showed their sympathy for these victims of fanaticism and intolerance. In the 1850s we find the name of Abelard linked to the emergence of a wealthy class which is spending fortunes on collecting art and antiquities.

The story begins at the ch.

When an honest citizen was shown into King James I's room in Whitehall, the scene of confusion amid which he found the King was no bad picture of the state and quality of James's own mind. Walter Scott, in The Fortunes of Nigel, tells the story and he explains how valuable ornaments were arranged in a slovenly manner, covered with dust; the table was loaded with huge folios, amongst which lay light books of jest and ribaldry; the King was dressed in a doublet of green velvet, over which he wore a sad-coloured nightgown, out of the pocket of which peeped his hunting horn. But such inconsistencies in dress and appointments, Scott explains, were mere outward types of those which existed in the royal character.