yet. But therein is their charm. An academy composed of young people who have done nothing yet would be more alluring than one made up of fossils who are unable to do anything more." Herein are contained enough aphorisms and epigrams to make up a new book of Solomonic wisdom. Hardly as evenly inspired as "Imperial Purple," "The Pomps of Satan" is more dashing and more varied. It is also more tired. "Vanity Square"[28] in Stella Sixmuth boasts such a "vampire" as even Theda Bara is seldom called upon to portray. Not until the final chapters of this mystery story do we discover that this lady has been poisoning a rich man's wife, with an eye on the rich man's heart and hand. Oraere is this slow and subtle poison which leaves no subsequent trace. She is thwarted but in a subsequent attempt she is successful. Robert Hichens has used this theme in "Bella Donna." There is a suicide by pistol. An exciting story but little else, this book contains fewer references to the gods and the caesars than is usual with Saltus. To compensate there are long discussions about phobias, dual personalities (a girl with six is described) and theories about future existence. Vanity Square, we are told, is bounded by Central Park, Madison Avenue, Seventy-second Street and the Plaza. It will be remembered that Tancred Ennever was at work on "Historia Amoris"[29] in 1895, which would seem to indicate that Saltus had begun to collect material for it himself at that time. The title is a literal description of the contents of the book: it is a history of love. Such a work might have been made purely anecdotal or scientific, but Saltus's purpose has been at once more serious and more graceful, to show how the love currents flowed through the centuries, to show what effect period life had on love and what effect love had on period life. Beginning with Babylon and passing on through the "Song of Songs" we meet Helen of Troy, Scheherazade (though but briefly), Sappho (to whom an entire chapter is devoted), Cleopatra (whom Heine called "_cette reine entretenue_"), Mary Magdalen, Heloise.... The Courts of Love are described and deductions are drawn as to the effect of the Renaissance on the Gay Science. "Historia Amoris" is concluded by a Schopenhauerian essay on "The Law of Attraction." Cicisbeism is not treated in extenso, as it should be, and I also missed the fragrant name of Sophie Arnould. Readers of "Love and Lore," "The Pomps of Satan," "Imperial Purple," and "The Lords of the Ghostland" will find much of their material adjusted to the purposes of this History of Love, which, nevertheless, no one interested in Saltus can afford to miss.