The Crimes of Paris: A True Story of Murder, Theft, and Detection (47 page)

19
. Ibid., 285.

20
. “A Hint to Mr. Morgan,”
New York Times,
January 18, 1912.

21
.
Los Angeles Times,
September 6, 1911.

22
.
New York Times,
March 3, 1912.

23
. Darian Leader,
Stealing the Mona Lisa: What Art Stops Us from Seeing
(New York: Counterpoint, 2002), 66.

24
. Max Brod, ed.,
The Diaries of Franz Kafka,
vol. 2,
1914–1923,
trans. Martin Greenberg with the cooperation of Hannah Arendt (New York: Schocken, 1949), 276.

25
. Sassoon,
Becoming Mona Lisa,
179.

26
. Nesbit, “Rat’s Ass,” 7.

27
. Ibid., 7.

28
. Théophile Homolle, director of the national museums, had been fired shortly after the theft.

29
. Contemporary photographs show four hooks at the space on the wall where the painting had hung.

30
. Hanns Zischler,
Kafka Goes to the Movies,
trans. Susan H. Gillespie (Chicago: University of Chicago Press, 2003), 49–51.

31
. Esterow,
Art Stealers,
102.

32
.
New York Times,
October 1, 1911.

33
. Ibid.

34
. Esterow,
Art Stealers,
108.

35
.
New York Times,
October 1, 1911.

36
. Ibid.

37
.
Mona
is a diminutive of
Madonna,
used as a term of respect for a married woman.

38
. The sitter in the
Mona Lisa
appears to have no eyebrows.

39
. Renaud Temperini,
Leonardo da Vinci at the Louvre
(Paris: Éditions Scala, 2003), 56.

40
. Roy McMullen,
Mona Lisa: The Picture and the Myth
(Boston: Houghton Mifflin, 1975), 116.

41
. Sassoon,
Becoming Mona Lisa,
39.

42
. Temperini,
Leonardo da Vinci,
56.

43
. Sassoon,
Becoming Mona Lisa,
26.

44
. Ibid., 27.

45
. Ibid., 61.

46
. Ibid., 54.

47
. Ibid., 89.

48
. Ibid., 95.

49
. Ibid., 110.

50
. Ibid., 111.

51
. Walter Pater, “Leonardo da Vinci,” in
Three Major Texts,
ed. William E. Buckley (New York: New York University Press, 1986), 149.

52
. Sigmund Freud,
Leonardo da Vinci and a Memory of His Childhood,
trans. Alan Tyson (New York: Norton, 1964), 65.

53
. Ibid., 69.

54
. Freud presumes that Leonardo, as a homosexual, had an unhappy erotic life. No one seriously argues this today.

55
. Ibid., 77.

56
. Sassoon,
Becoming Mona Lisa,
108.

57
. Steegmuller,
Apollinaire,
188.

58
.
Boston Daily Globe,
September 10, 1911.

59
. Freundschuh, “Crime Stories,” 287.

60
. Pater, “Leonardo da Vinci,” 150.

CHAPTER THREE: SYMPATHY FOR THE DEVIL

1
. Steegmuller,
Apollinaire,
182 (see chap. 2, n. 3).

2
. R. D. Collins,
The Origins of Detective Fiction: A Brief History of Crime and Mystery Books,
http://www.classiccrimefiction.com/historydf.htm
.

3
. François-Eugène Vidocq,
Memoirs of Vidocq: Master of Crime
(Edinburgh: AK Press, 2003), 1.

4
. Ibid.

5
. Ibid., 7.

6
. Ibid., 57.

7
. Ibid., 192.

8
. Ibid., 185.

9
. Julian Symons,
Bloody Murder: From the Detective Story to the Crime Novel; A History,
2nd ed. (London: Pan Books, 1992), 37.

10
. Joseph Geringer,
Vidocq: Convict Turned Detective Magnifique: Police Spy,
http://www.crimelibrary.com/gangsters_outlaws/cops_others/vidocq/3.html
.

11
. The brand was “TF,” for
travaux forcés,
forced work.

12
. Geringer,
Vidocq,
http://www.crimelibrary.com/gangsters_outlaws/cops_-others/vidocq/4.html
.

13
. Vidocq,
Memoirs,
204.

14
. Ibid., 368.

15
. Alfred Morain,
The Underworld of Paris: Secrets of the Sûreté
(London: Jarrolds, 1929), 233–34.

16
. Vidocq,
Memoirs,
xiii.

17
. Geringer,
Vidocq,
http://www.crimelibrary.com/gangsters_outlaws/cops_-others/vidocq/7.html
.

18
. Honoré de Balzac,
Père Goriot,
trans. Burton Raffel (New York: Norton, 1994), 39.

19
. Ibid., 90.

20
. Edward Berenson,
The Trial of Madame Caillaux
(Berkeley: University of California Press, 1992), 216.

21
. According to Poe’s biographer Arthur Hobson Quinn, Poe took the name of his fictional detective from Marie Dupin, the heroine of a story that appeared in a collection titled “Unpublished Passages in the Life of Vidocq, the French Minister of Police.” Published in the magazine
Burton’s
from September to December 1838 and signed J. M. B., these stories capitalized on Vidocq’s fame and portrayed him in action capturing criminals.
Edgar Allan Poe: A Critical Biography
(Baltimore: Johns Hopkins University Press, 1998), 310–11.

22
. A. E. Murch,
The Development of the Detective Novel
(Port Washington, NY: Kennikat Press, 1968), 68.

23
. Quinn,
Edgar Allan Poe,
430.

24
. Symons,
Bloody Murder,
46.

25
. Keith Parkins,
Edgar Allan Poe,
http://www.huerka.clara.net/art/poe.htm
.

26
. Edmund Wilson,
Axel’s Castle: A Study in the Imaginative Literature of 1870–1930
(New York: Scribner’s, 1959), 12.

27
. Ibid.

28
. Parkins,
Edgar Allan Poe,
4.

29
.
New York Times,
December 13, 1991.

30
. Parkins,
Edgar Allan Poe,
2–3.

31
. LeRoy Lad Panek,
An Introduction to the Detective Story
(Bowling Green, OH: Bowling Green State University Popular Press, 1987), 71.

32
. Janet Pate,
The Book of Sleuths
(Chicago: Contemporary Books, 1977), 18.

33
. Ibid.

34
. Henry Douglas Thomson,
Masters of Mystery: A Study of the Detective Story
(1931; repr., New York: Dover, 1978), 96.

35
. Ibid., 101.

36
. Ibid., 102.

37
. Gaboriau, Émile,
Monsieur Lecoq,
ed. and intro. E. F. Bleiler (New York: Dover, 1975), v.

38
. Murch,
Detective Novel,
12.

39
. J. Kenneth Van Dover,
You Know My Method: The Science of the Detective
(Bowling Green, OH: Bowling Green State University Popular Press, 1994), 24.

40
. Jean-Marc Lofficier and Randy Lofficier,
Shadowmen: Heroes and Villains of French Pulp Fiction
(Encino, CA: Black Coat Press, 2003), 231.

41
. Ibid., 233.

42
. Pierre Souvestre and Marcel Allain,
Fantômas
(New York: Morrow, 1986), 80.

43
. Ibid., 11.

44
. Robin Walz,
Pulp Surrealism: Insolent Popular Culture in Early Twentieth-Century Paris
(Berkeley: University of California Press, 2000), 62.

CHAPTER FOUR: SCIENCE VS. CRIME

1
. Shapiro,
Breaking the Codes,
41 (see chap. 1, n. 43).

2
. Nash, Jay Robert,
Encyclopedia of World Crime
(Wilmette, IL: History, Inc., 1999), 1868.

3
. Gerould,
Guillotine,
96 (see chap. 1, n. 46).

4
. Ibid., 96.

5
. Nash,
Encyclopedia of World Crime,
1868.

6
. Ibid.

7
. Canler would later serve as head of the Sûreté himself and write his memoirs, which were suppressed by the authorities for being too frank. They were published seventeen years after his death.

8
. Higonnet,
Paris,
79 (see chap. 1, n. 19).

9
. Nash,
Encyclopedia of World Crime,
1869.

10
. The Cour d’Assises assembled to hear specific cases; it usually consisted of a three-judge panel and nine jurors.

11
. Gerould,
Guillotine,
96.

12
. The
Memoirs,
published posthumously, met with acclaim. Stendhal, Hugo, Flaubert, and Dostoevsky were all fascinated with the man, particularly his sense of himself as a genius warring against society. Dostoevsky later published Lacenaire’s memoirs in Russian in a magazine he edited, and he used him as a model for Raskolnikov, the double murderer in
Crime and Punishment.
Lacenaire also served as the model for the character Montparnasse in Victor Hugo’s
Les misérables.
The 1943 movie
Children of Paradise,
regarded as one of the peaks of French cinema, includes a character named Lacenaire, who is loosely based on the real person.