Romance” (1890), a perfectly constructed romantic and absorbing story of Russian and Polish people living in Munich; “Khaled, a Romance of Arabia” (1891), of which a genie is the hero; “The Witch of Prague” (1891), which deals with hypnotism, a theme difficult to handle in fiction; “The Three Fates” (1892), a realistic story of New York society life and the best of Mr. Crawford’s American studies; “Marion Darche” (1893), another story of New York and of the devotion of a forger’s wife; “The Children of the King” (1893), a melodramatic story of Calabrian peasant life; “Pietro Ghisleri” (1893), in which both romantic and realistic elements are found and which pictures the gay society of Rome; “Katharine Lauderdale” and its sequel “The Ralstons” (1894), chronicles of a New York family; “Casa Braccio” (1895), a melodrama of passion; “Taquisara” (1896), an unpleasant story of the last representative of a great Saracen family and a princess of Acireale; “Via Crucis” (1899), a historical romance of the Second Crusade; “In the Palace of the King” (1900), a tale of passion, the hero of which is Don John of Austria, and the scene of which is the court of Philip II. of Spain; “Marietta, a Maid of Venice” (1901), a fifteenth-century story; “The Heart of Rome” (1903), the _motif_ of which is modern Rome’s treatment of its artistic heritage; “Fair Margaret” (1905), published in London as “Soprano, a Portrait,” recounting the fascinating career of Margaret Donne, who becomes a successful opera singer; “Whosoever Shall Offend” (1905), an effective story of crime; and “A Lady of Rome” (1906), a study of character moulded by strong religious belief.