The Duke Of Paris

It all begins with one hot night in Paris… The Honorable Miss Dorothy McGovern is in dire straits. Along with her brother, Damien, as children of the youngest son of a huge, aristocratic family, she has only her connections to her name, and what little money she inherited is running out. In a last-ditch effort to save themselves from ruin, she and Damien have joined the rest of the McGovern cousins on a grand tour. First stop, Paris. Lord Marshall Stone, the brand-new Duke of Reith, has fled to Paris to visit his disgraced brother and to drown his grief over his father’s death in parties and female company. His reputation is going downhill fast, and he has no wish to save it. He even goes so far as to seduce a woman he thinks is the pretty companion of one of his friends. Except, the woman he seduces turns out to be his friend’s cousin and a noblewoman in her own right. One he can’t stop thinking about or wanting. To make matters worse, a mysterious figure begins sending threats that could destroy both Marshall and Dorothy and put the entire McGovern family in danger. The unlikely lovers must work together to figure out who is blackmailing them and to save the entire family from social ruin. TALES FROM THE GRAND TOUR is a steamy, light-hearted Victorian series, set in the 1890s, that follows the wild, unconventional, often scandalous McGovern cousins as they make their way through Europe and beyond. PLEASE BE ADVISED – Steam Level: Five-Alarm Fire with a few F-bombs. Don’t say you weren’t warned. Tales from the Grand Tour: THE DUKE OF PARIS RENDEZVOUS IN PARIS LAST CHANCE FOR PARIS TUSCAN SUNRISE VENETIAN SUNSHINE ROMAN SUNSET

The author calls himself a musical Dr. Jekyll and Mr. Hyde, and here are his memoirs. This book is the story of a symphonic- vs. -stagestruck composer - born Vladimir Dukelsky in a small railroad station in Russia - who wrote a Diaghilev ballet, symphonic music praised by the critics, as well as numerous Broadway hits, including the score to Cabin in the Sky, and the ever-popular tune "April in Paris." Paris is the pivot on which these confessions turn - the full-blown Paris of Christian Berard and Jean Cocteau and "Les Six," of the ballet Russe under its incomparable impresario, Diaghilev. Vladimir Dukelsky fell in love with Paris. He writes vividly and longingly of his life there - of his plush and penniless days; his friendships and quarrels with Prokofiev, the Sitwells, Serge and Natalya Koussevitzky and a host of other luminaries; his encounters with Massine and Balanchine that opened the door to Diaghilev, a commission - and recognition. And then, America. It was the America of the golden twenties and "thirsty thirties" - it was the age that saw the Shubert Follies, the infant Theatre Guild, the movies ground out on Long Island - it was the heyday of Ethel Merman, Bea Lillie, Maurice Chevalier, Ginger Rogers, Noel Coward, George and Ira Gershwin and in all-star bill of other favorites. Popular music was popular as never before and Vernon Duke knew he had a knack for tunes. Through it all, Dukelsky pulled against Duke - acclaim mounted in Europe; battle was pitched in Boston with Koussevitzky; Evelyn Hoey sang "April in Paris" in Walk a Little Faster, which starred Bea Lillie; Hollywood nodded; Gershwin and Prokofiev each demanded another score. An irresistible lyricist hove on the scene in the person of Ogden Nash, with whom a lifelong friendship developed. It was a madcap merry-go-round of ups and downs, frantic friends, strong emotions involving a number of women. Vernon Duke loved every minute of it, and he writes with often startling candor both of his own checkered career and those of the figures he has known. This book beats out a lively syncopation of wit and gusto and off-beat memories, extending a handsome invitation to meet the theatrical and musical greats of the past three decades - and to share in the indefinable magic of the city everyone loves best. --Dust jacket.

Drawing on a wealth of sources from different disciplines, the essays here provide a nuanced picture of how medieval and early modern societies viewed murder and dealth with murderers.

Guy Aylmer, the son of an English knight, accompanies his lord to Villeroy, his castle in France, during the time of the struggle for supremacy between the houses of Orleans and Burgundy. When Orleanist forces attack Villeroy, Guy takes part in its defense, and when Burgundy, in the name of the mad King Louis, requests that Lady Margaret and the children come to Paris as hostages, Guy is sent with them as their protector. When the butchers of Paris attack their house, Guy successfully defends his charges, and afterwards conducts them to a safe hiding place. After many other adventures, Guy returns to France with King Henry, and fights in the battle of Agincourt, returning home at last to an estate awarded to him for his service to the king.

The Story of Paris is a historical work by Thomas Okey. Okey was an author, translator and expert in architecture, here taking a thorough chronological look at the city's history and legendary locations. Excerpt: "Two epoch-making developments—the creation of Gothic architecture and the rise of the University of Paris—synchronise with the period covered by the reigns of Philip Augustus and St. Louis, and may now fitly be considered. The memory of the Norman terror had long passed from men's minds. The Isle de France had been purged of robber lords, and with peace and security, wealth and population had increased. The existing churches were becoming too small for the faithful and new and fairer temples replaced the old: the massive square towers, the heavy walls and thick pillars of the Norman builders, blossomed into grace and light and beauty. Already in the beginning of the twelfth century the church of St. Denis was in urgent need of extension. On festival days so great were the crowds pressing to view the relics, that many people had been trodden under foot, and Abbot Suger determined to build a larger and nobler church. Great was the enthusiasm of the people as the new temple rose. Noble and burgess, freeman and serf, harnessed themselves like beasts of burden to the ropes and drew the stone from the quarry. A profound silence reigned, broken only by the murmur of those who confessed their sins when a halt was made. A trumpet sounded, banners were unfurled, and the silent host resumed its way. Arrived at the building the whole multitude burst forth into a song of praise. All would lend their[Pg 85] aid in raising the new house of God and of His holy martyrs, and the burial-place of their kings. In 1161 Maurice de Sully, a peasant's son, who had risen to become bishop of Paris, determined to erect a great minster adequate to the demands of his time. The old churches of Notre Dame and of St. Stephen[58] and many houses were demolished, and a new street, called of Notre Dame, was made."