Crimes of Paris_ A True Story of Murder, Theft, and Detection - Dorothy Hoobler [160]
48. Agnes Peirron, “House of Horrors,” http://www.GrandGuignol.com/history.htm.
49. John Ashbery, “Introduction of Marcel Allain and Pierre Souvestre’s Fantômas,” in Selected Prose, ed. Eugene Richie (Ann Arbor: University of Michigan Press, 2004), 185.
50. Ibid.
CHAPTER TWO: SEARCHING FOR A WOMAN
1. Jürgen Thorwald, The Century of the Detective, trans by Richard Winston and Clara Winston (New York: Harcourt, Brace, and World, 1965), 85.
2. Seymour Reit, The Day They Stole the Mona Lisa (New York: Summit Books, 1981), 78.
3. Francis Steegmuller, Apollinaire: Poet among the Painters (New York: Farrar, Straus, 1963), 188–89.
4. Milton Esterow, The Art Stealers (New York: Macmillan, 1966), 107.
5. The French version of La Gioconda, an Italian name for the Mona Lisa, referring to the fact that the subject of the painting is thought to be the wife of Francesco del Giocondo.
6. Molly Nesbit, “The Rat’s Ass,” October 56 (Spring 1991): 13–14.
7. Steegmuller, Apollinaire, 188.
8. Aaron Freundschuh, “Crime Stories in the Historical Landscape: Narrating the Theft of the Mona Lisa,” Urban History 33, no. 2 (2006): 281.
9. E. E. Richards, The Louvre (Boston: Small, Maynard, 1912), 96.
10. Los Angeles Times, August 26, 1911.
11. About twice the annual wage of a skilled worker at the time.
12. Esterow, Art Stealers, 101.
13. Donald Sassoon, Becoming Mona Lisa: The Making of a Global Icon (San Diego: Harcourt, 2001), 174.
14. Freundschuh, “Crime Stories,” 286.
15. Barbara Gardner Conklin, Robert Gardner, and Dennis Shortelle, Encyclopedia of Forensic Science: A Compendium of Detective Fact and Fiction (Westport, CT: Oryx Press, 2002), 282–83.
16. Esterow, Art Stealers, 117.
17. Steegmuller, Apollinaire, 187–88.
18. Freundschuh, “Crime Stories,” 287.
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,