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Lord Vanity
One copy
473 pages, Hardcover
First published January 1, 1953
14 people are currently reading
178 people want to read
About the author
Samuel Shellabarger
71 books44 followersAKA:
John Esteven
Peter Loring
Samuel Shellabarger was an American educator and author of both scholarly works and best-selling historical novels. He was born in Washington, D.C., on 18 May 1888, but his parents both died while he was a baby. Samuel was therefore raised by his grandfather, Samuel Shellabarger, a noted lawyer who had served in Congress during the American Civil War and as Minister to Portugal. Young Samuel's travels with his grandfather later proved a goldmine of background material for his novels.
Shellabarger attended private schools and in 1909 graduated from Princeton University, where he would later teach. After studying for a year at Munich University in Germany, he resumed his studies at Harvard University and Yale University. Despite taking a year off to serve in World War I, he received his doctorate in 1917. In 1915 he married Vivan Georgia Lovegrove Borg whom he had met the year before during a vacation in Sweden. They had four children, but the two boys died: one as an infant and the other serving in World War II. Shellabarger himself died of a heart attack in Princeton, New Jersey, on 21 March 1954.
Having already published some scholarly works and not wanting to undermine their credibility by publishing fiction, Shellabarger used pen names for his first mysteries and romances: "John Esteven" and then "Peter Loring." He continued to write scholarly works and to teach, but his historical novels proved so popular that he soon started using his own name on them. Some of them were best-sellers and were made into movies.
John Esteven
Peter Loring
Samuel Shellabarger was an American educator and author of both scholarly works and best-selling historical novels. He was born in Washington, D.C., on 18 May 1888, but his parents both died while he was a baby. Samuel was therefore raised by his grandfather, Samuel Shellabarger, a noted lawyer who had served in Congress during the American Civil War and as Minister to Portugal. Young Samuel's travels with his grandfather later proved a goldmine of background material for his novels.
Shellabarger attended private schools and in 1909 graduated from Princeton University, where he would later teach. After studying for a year at Munich University in Germany, he resumed his studies at Harvard University and Yale University. Despite taking a year off to serve in World War I, he received his doctorate in 1917. In 1915 he married Vivan Georgia Lovegrove Borg whom he had met the year before during a vacation in Sweden. They had four children, but the two boys died: one as an infant and the other serving in World War II. Shellabarger himself died of a heart attack in Princeton, New Jersey, on 21 March 1954.
Having already published some scholarly works and not wanting to undermine their credibility by publishing fiction, Shellabarger used pen names for his first mysteries and romances: "John Esteven" and then "Peter Loring." He continued to write scholarly works and to teach, but his historical novels proved so popular that he soon started using his own name on them. Some of them were best-sellers and were made into movies.
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Displaying 1 - 25 of 25 reviews
August 20, 2016
A classic by Shellabarger. It helps to know a little Italian to capture the true flavor of some phrases is the only criticism that I have. That being said, I total enjoyed the novel's adventurous and romantic flare.
October 28, 2024
Rereading this for the fourth or fifth time, this time as lectio divina. It is a lesser favorite of Shellabarger's four historical fiction novels, with Captain from Castile and Prince of Foxes reigning supreme. It matches fairly evenly with The King's Cavalier, but being a lesser favorite doesn't mean bad. It is equally worthy of five stars from this wonderful author.
April 4, 2008
This was written by my great uncle. A really wonderfully and smartly written historical fiction romance at the turn of the century, Europe. This is not "light reading before bed", this is for the serious reader who loves art, orchestra, romance, and everything to do with Italy and France in the late 1700's. I have three copies, all hard cover and first or second editions...make me an offer!!
December 30, 2008
This was my first book by Samuel Schellabarger, I came upon it by chance and, being a fan of historical fiction, read it. I found it to be a little old fashioned in style, but was soon swept up by the characters, all of whom were fabulous. A poor young italian musician, living around the 1760s, is hired to play at a high society party, and meets all the characters who will weave in and out of his life for the rest of the novel -- a lovely young italian girl, a blase french noblewoman, and an unscrupulous italian adventurer. The title comes from the main character's conflict between fortune and status, and love -- vanity being the quality that rules the society he lives in. The story was a little more stilted than some of the other novels I later read by Schellabarger, but as I said, the characters were so engaging and the themes so well drawn that I was very engaged and promptly read all of Shellabarger's other books. I think it is a shame this author been relatively forgotten.
January 8, 2016
If you like endless descriptions of what people are wearing, where they are going and what they are doing for entertainment, then this book might be for you. I was expecting a rollicking adventure with swashbuckling daring-do. I was sorely disappointed.
May 10, 2015
18th Century intrigue, romance and adventure. Shellabarger's research always gives us a dependable background rooted in scholarly exploration of the period, personalities and history. I've enjoyed following Richard Morandi as he struggles to make himself into a gentleman of fashion. In the end he realizes that what makes him happiest is being with his love, Marika. Of course we can identify with his inward struggles as he plays the roles that circumstances and his wits allow him. He even becomes a successful leader in the battle for Montreal and the description of this battle surprised me. I don't care for war at all but found myself right there with those soldiers. What I love about Shellabarger are his dialogues. That's where his strength lies no matter whether you're reading a historical novel or a murder mystery. You may find yourself teased by the subtleties moving around and under the words. I did.
October 9, 2010
Excellent historical novel of Mid-Eigthteenth Century Europe and Colonial America.
In bildungsroman fashion, the story follows the adventures and moral education of it's young protagonist, the illegitimate son of an English Earl and French dancer, who starts out as a musician and actor in Venice and experiences various and extreme changes of fortune, adventure, and love. Sophisticated, highly-cultured characters exchange witty, indirect dialogue (sometimes lapsing into French or Italian to the minor irritation of the mono-lingual reader).
A glittering representation of the Rococo world painted by Boucher and Fragonard. Like all great historical fiction, the story exemplifies a theme that is emblematic of it's epoch: in this case, the disarray of morality and Religion, leaving the titular 'Lord Vanity' as the true governing force of the age.
In bildungsroman fashion, the story follows the adventures and moral education of it's young protagonist, the illegitimate son of an English Earl and French dancer, who starts out as a musician and actor in Venice and experiences various and extreme changes of fortune, adventure, and love. Sophisticated, highly-cultured characters exchange witty, indirect dialogue (sometimes lapsing into French or Italian to the minor irritation of the mono-lingual reader).
A glittering representation of the Rococo world painted by Boucher and Fragonard. Like all great historical fiction, the story exemplifies a theme that is emblematic of it's epoch: in this case, the disarray of morality and Religion, leaving the titular 'Lord Vanity' as the true governing force of the age.
November 1, 2020
good tale of theatre, intrigue in the posh sets in Venice & London. The ancient copy I was reading had belonged to my sister Peggy, but it was so filthy it was like the very filthiest book in a used bookstore. I couldn’t stand to read it for more than 20 minutes at a time and then I would have to wash my hands. And even though I liked the story I found that in the last eighth of the book I was skimming some parts which is some thing I never do. I think it was something I would have liked more when I was younger.
December 21, 2018
I suppose I'll eventually get around to reading all the novels I purchased for 25 cents each at the Central High School Library Sale. Lord Vanity, published in 1953, was last checked out in 1987. I bought it at least 10 years ago, and it's been sitting on my shelf, waiting patiently.
Lord Vanity starts out slow. It's 1753, and we meet young Richard Morandi, an actor and sometimes instrumentalist. He is the bastard son of an English nobleman who does not recognize him. Richard is performing at an exclusive Venetian palace, and his eye is caught by a lovely young lady named Maritza. Maritza is from an aristocratic but poor family. Her plain clothes and simple style contrast sharply with the glamour that surrounds her. Richard, though, is much taken with her, but events conspire to keep him from spending much time with her. He is drawn into being the one professional actor in an amateur play performed by the aristocrats. In this situation he is drawn to Amelie des Landes, a profligate young countess. He also meets Tromba, a charlatan.
Richard's performance in the play is brilliant, as he uses the play as a device to get even with an aristocrat who's made fun of him. The threat of revenge is always near, but Richard is happily courting Maritza. Her father and her nurse/companion, Anzoletta, approve of Richard. The romance is progressing until Richard accidentally kills a man.
This is the point when the novel becomes interesting. Richard is not executed for murder; instead, he is sentenced to life in the galleys as a slave. How he will escape this fate is unknown. In fact, galley life exhausts him so much it's difficult to think of a plan to escape. A chance meeting leads to his freedom and a life of adventure. The novel ranges from Venice to London to Quebec to Paris.
Shellabarger carefully develops the themes of reality versus appearance. As an actor, Richard is used to playing a role. In his various adventures, Richard isn't really himself, but a man in costume. He is an excellent actor and learns his parts perfectly. Yet he always feels as though he wants to be in contact with his authentic self. The problem is, he's not sure what that is. All the world's a stage for him, and all the men and women merely players.
Will Richard's candle be snuffed out? Is he just a walking shadow? Is life nothing more than a tale told by an idiot, full of sound and fury, signifying nothing? Or is there more substance to the young man?
It took me a bit to appreciate Shellabarger's prose, but once I settled into the book, I found it gently satirical and beautifully descriptive. The development of the main characters is well-done. I'm sure it's easier to understand if you know a bit of Italian and French--thankfully, I remembered enough of my French, but I don't know Italian.
Lord Vanity is an old-fashioned novel. I enjoyed visiting a time when the turn of a phrase was important. It's not for everyone, but for those who like a well-written novel with a strong theme, Lord Vanity fits the bill.
Lord Vanity starts out slow. It's 1753, and we meet young Richard Morandi, an actor and sometimes instrumentalist. He is the bastard son of an English nobleman who does not recognize him. Richard is performing at an exclusive Venetian palace, and his eye is caught by a lovely young lady named Maritza. Maritza is from an aristocratic but poor family. Her plain clothes and simple style contrast sharply with the glamour that surrounds her. Richard, though, is much taken with her, but events conspire to keep him from spending much time with her. He is drawn into being the one professional actor in an amateur play performed by the aristocrats. In this situation he is drawn to Amelie des Landes, a profligate young countess. He also meets Tromba, a charlatan.
Richard's performance in the play is brilliant, as he uses the play as a device to get even with an aristocrat who's made fun of him. The threat of revenge is always near, but Richard is happily courting Maritza. Her father and her nurse/companion, Anzoletta, approve of Richard. The romance is progressing until Richard accidentally kills a man.
This is the point when the novel becomes interesting. Richard is not executed for murder; instead, he is sentenced to life in the galleys as a slave. How he will escape this fate is unknown. In fact, galley life exhausts him so much it's difficult to think of a plan to escape. A chance meeting leads to his freedom and a life of adventure. The novel ranges from Venice to London to Quebec to Paris.
Shellabarger carefully develops the themes of reality versus appearance. As an actor, Richard is used to playing a role. In his various adventures, Richard isn't really himself, but a man in costume. He is an excellent actor and learns his parts perfectly. Yet he always feels as though he wants to be in contact with his authentic self. The problem is, he's not sure what that is. All the world's a stage for him, and all the men and women merely players.
Will Richard's candle be snuffed out? Is he just a walking shadow? Is life nothing more than a tale told by an idiot, full of sound and fury, signifying nothing? Or is there more substance to the young man?
It took me a bit to appreciate Shellabarger's prose, but once I settled into the book, I found it gently satirical and beautifully descriptive. The development of the main characters is well-done. I'm sure it's easier to understand if you know a bit of Italian and French--thankfully, I remembered enough of my French, but I don't know Italian.
Lord Vanity is an old-fashioned novel. I enjoyed visiting a time when the turn of a phrase was important. It's not for everyone, but for those who like a well-written novel with a strong theme, Lord Vanity fits the bill.
January 20, 2015
18th Century intrigue, romance and adventure. Shellabarger's research always gives us a dependable background rooted in scholarly exploration of the period, personalities and history. I've enjoyed following Richard Morandi as he struggles to make himself into a gentleman of fashion. In the end he realizes that what makes him happiest is being with his love, Marika. Of course we can identify with his inward struggles as he plays the roles that circumstances and his wits allow him. He even becomes a successful leader in the battle for Montreal and the description of this battle surprised me. I don't care for war at all but found myself right there with those soldiers. What I love about Shellabarger are his dialogues. That's where his strength lies no matter whether you're reading a historical novel or a murder mystery. You may find yourself teased by the subtleties moving around and under the words. I did.
June 6, 2018
Shellabarger’s decorative tale follows young Richard Morandi as he transforms from an unknown artist and actor to an aristocratic gentleman immersed in the world of European fashion. The authenticity of events within the novel, along with the appearance and major roles of real historical figures, delights the amateur historian in readers’ hearts and plunges them into the midst of the 18th century. This alone would make the story highly enjoyable to any bookworm who wishes to have a factual taste of the men and women of fashion or the action of the French and Indian War, among other events and characters.
However, the true genius of the book lies not merely in Shellabarger’s careful research and retelling of historical events but also in the impressive way he ties these factual situations with the development of our hero, Richard Morandi. Most notably, each subsequent country through which Richard travels symbolizes the different stages of Richard’s growth from a young, naive pauper of Venice, to a distinguished man of fashion, and at last to the unassuming and unaffected migrant to America.
Beginning in Italy, Richard’s life is simple, as are his aspirations to become an actor. Under the influences of his mother, who is not ashamed of her status in society, and Maritza Venier, the unconventional, honest, and unpretentious young woman with whom Richard falls in love, Richard remains grounded and humble. Though he has seen and gains a small amount of experience with the intriguing world of fashion, he has no conscious aspirations in that direction. However, it becomes clear that Richard’s initially uncomplicated dream of becoming an actor represents his private and unconscious desire to become part of the captivating scenes of fashion and rank.
Due to some ruinous actions on Richard’s part that leads him to a life sentence of being a galley slave, he finds himself transported from Italy to England and is offered the redeeming chance to become another person. After all, to return to his simple life in Italy would mean certain death. However, if Richard agrees to play the part of a young noble under the guidance of his prestigious father, Lord Marny, Richard could put his good acting to use and be introduced to the glittery society of the fashionable. Represented by Marny, England is colder and stiffer than Venice, but the country is also rich and is not devoid of showy lords and aristocrats. It is here that Ricard learns to act the part of and become a man of fashion. As he becomes more familiar with the values of money and a high social position, Richard has a falling out with the virtuous Maritza and becomes engrossed in a love affair with the charming and beautiful coquette, Amelie des Landes.
Due to another mishap that this time more directly involves Richard’s close friend, the swarthy, handsome, and sly Marcello Tromba, our hero makes the decision to enter the military in order to redeem his name. Thus, he sets out for Canada and continues his act, this time as a soldier. Though money may buy Richard a few more comforts and fresher uniforms, the world of fashion ultimately has no place in a war zone. As a result, Richard could only act so much when faced with the grim and austere realities and conditions of warfare. For a section then, Richard is reminded of the world without its artifices. Significantly, he often thinks of Maritza, while acknowledging that he has trouble thinking of Amelie because her flair and charm are so out of place with the remoteness of the New World. Despite this brief relapse to the unembellished, he is again given the chance to use his acting skills by becoming a French prisoner of war. It is this mission that makes clear to readers Richard’s thorough mastery of acting - when his very life depends on his success!
Following his military endeavors in Canada, Richard then finds himself in France, the seat of the lavish riches, arrogance, and hubris of the fashionable. At the pinnacle of vanity, Richard once again must stake his life in acting a part in order to fool France’s authorities. This time, it is unmistakeable to readers that Richard has perfected his acting; it is so flawless that there is almost no danger of Richard’s exposing himself behind enemy lines. At this juncture, Richard’s acting has become his being. Represented by Amelie, France is where Richard is totally immersed in the world of vanity. However, there continues to be one continuous pulse of genuineness in the form of the lovely and courageous Maritza. Ever constant to her original nature, Maritza refuses be influenced by money and power, even as it costs her popularity and further opportunities to fulfill her dream of becoming a famous ballerina. Her chastity leads to sneering by the elite, and her efforts make her the laughingstock of almost the entire theater. However, it is the exact moment when Maritza is at her lowest that Richard comes to realization he no longer wishes to play a role - that he does not want to act. This shattering of Richard’s life goal, born in Venice and cultivated to a perfection while traveling through England, Canada, and France, is our hero’s redemption. This happens at the very moment when Maritza’s sweetness and honesty is pitted against the stark face of vanity and nobility.
Following Richard’s final rejection of the fashionable Old World’s artifice, it seems only sensible that he and Maritza will begin a new life in the New World (America). Otherwise, they would be unable to escape the phoniness of the nobility of Europe, and they can only disengage the hastiness of the Old World by embracing the New World. “New” indeed it is, not only because it remained largely physically unexplored at the time, but also because it has not yet been tainted by the pride, richness, and vanity found across the ocean. America provides Richard with the opportunity to begin anew without the pressures of society to fill any roles. Presumably, he would live the rest of his life without any extra adornments.
Throughout his adventures, Richard reminds readers that true happiness cannot be gained by erecting a fashionable mask. Amelie and Lord Marny are proof of this; though they will remain rich and comfortable, they will never attain the sort of prosperity that is afforded by happiness. By defecting from the influence of Lord Vanity, Richard may cease his performances to be himself, unencumbered by the demanding conventions of society.
However, the true genius of the book lies not merely in Shellabarger’s careful research and retelling of historical events but also in the impressive way he ties these factual situations with the development of our hero, Richard Morandi. Most notably, each subsequent country through which Richard travels symbolizes the different stages of Richard’s growth from a young, naive pauper of Venice, to a distinguished man of fashion, and at last to the unassuming and unaffected migrant to America.
Beginning in Italy, Richard’s life is simple, as are his aspirations to become an actor. Under the influences of his mother, who is not ashamed of her status in society, and Maritza Venier, the unconventional, honest, and unpretentious young woman with whom Richard falls in love, Richard remains grounded and humble. Though he has seen and gains a small amount of experience with the intriguing world of fashion, he has no conscious aspirations in that direction. However, it becomes clear that Richard’s initially uncomplicated dream of becoming an actor represents his private and unconscious desire to become part of the captivating scenes of fashion and rank.
Due to some ruinous actions on Richard’s part that leads him to a life sentence of being a galley slave, he finds himself transported from Italy to England and is offered the redeeming chance to become another person. After all, to return to his simple life in Italy would mean certain death. However, if Richard agrees to play the part of a young noble under the guidance of his prestigious father, Lord Marny, Richard could put his good acting to use and be introduced to the glittery society of the fashionable. Represented by Marny, England is colder and stiffer than Venice, but the country is also rich and is not devoid of showy lords and aristocrats. It is here that Ricard learns to act the part of and become a man of fashion. As he becomes more familiar with the values of money and a high social position, Richard has a falling out with the virtuous Maritza and becomes engrossed in a love affair with the charming and beautiful coquette, Amelie des Landes.
Due to another mishap that this time more directly involves Richard’s close friend, the swarthy, handsome, and sly Marcello Tromba, our hero makes the decision to enter the military in order to redeem his name. Thus, he sets out for Canada and continues his act, this time as a soldier. Though money may buy Richard a few more comforts and fresher uniforms, the world of fashion ultimately has no place in a war zone. As a result, Richard could only act so much when faced with the grim and austere realities and conditions of warfare. For a section then, Richard is reminded of the world without its artifices. Significantly, he often thinks of Maritza, while acknowledging that he has trouble thinking of Amelie because her flair and charm are so out of place with the remoteness of the New World. Despite this brief relapse to the unembellished, he is again given the chance to use his acting skills by becoming a French prisoner of war. It is this mission that makes clear to readers Richard’s thorough mastery of acting - when his very life depends on his success!
Following his military endeavors in Canada, Richard then finds himself in France, the seat of the lavish riches, arrogance, and hubris of the fashionable. At the pinnacle of vanity, Richard once again must stake his life in acting a part in order to fool France’s authorities. This time, it is unmistakeable to readers that Richard has perfected his acting; it is so flawless that there is almost no danger of Richard’s exposing himself behind enemy lines. At this juncture, Richard’s acting has become his being. Represented by Amelie, France is where Richard is totally immersed in the world of vanity. However, there continues to be one continuous pulse of genuineness in the form of the lovely and courageous Maritza. Ever constant to her original nature, Maritza refuses be influenced by money and power, even as it costs her popularity and further opportunities to fulfill her dream of becoming a famous ballerina. Her chastity leads to sneering by the elite, and her efforts make her the laughingstock of almost the entire theater. However, it is the exact moment when Maritza is at her lowest that Richard comes to realization he no longer wishes to play a role - that he does not want to act. This shattering of Richard’s life goal, born in Venice and cultivated to a perfection while traveling through England, Canada, and France, is our hero’s redemption. This happens at the very moment when Maritza’s sweetness and honesty is pitted against the stark face of vanity and nobility.
Following Richard’s final rejection of the fashionable Old World’s artifice, it seems only sensible that he and Maritza will begin a new life in the New World (America). Otherwise, they would be unable to escape the phoniness of the nobility of Europe, and they can only disengage the hastiness of the Old World by embracing the New World. “New” indeed it is, not only because it remained largely physically unexplored at the time, but also because it has not yet been tainted by the pride, richness, and vanity found across the ocean. America provides Richard with the opportunity to begin anew without the pressures of society to fill any roles. Presumably, he would live the rest of his life without any extra adornments.
Throughout his adventures, Richard reminds readers that true happiness cannot be gained by erecting a fashionable mask. Amelie and Lord Marny are proof of this; though they will remain rich and comfortable, they will never attain the sort of prosperity that is afforded by happiness. By defecting from the influence of Lord Vanity, Richard may cease his performances to be himself, unencumbered by the demanding conventions of society.
This entire review has been hidden because of spoilers.
November 7, 2020
I wanted to love this book being that it was a #1 NYT bestseller in 1953, but for me it didn't start to pick up until I was well past 100 pages. The book is heavily sprinkled with French and Latin dialogues, none of it translated in English. Though one could pick up the context from some of the short phrases, other times the phrases were full sentences!
And two-thirds of the book is focused on French & Italian operas and ballets, not my cup of tea.
On the positive side, the main plot centers on the love interests of two women and the protagonist. Well executed and realistic. I only wish the passages that dealt with the slave galleys and the conquest of Quebec was better exploited. Much too brief in my opinion.
And two-thirds of the book is focused on French & Italian operas and ballets, not my cup of tea.
On the positive side, the main plot centers on the love interests of two women and the protagonist. Well executed and realistic. I only wish the passages that dealt with the slave galleys and the conquest of Quebec was better exploited. Much too brief in my opinion.
July 19, 2021
Prince of Foxes and Captain from Castille are among my favorite historical novels. I finally got around to buying the Kindle versions of Lord Vanity and King's Cavalier and just finished Lord Vanity. It's entertaining but not remotely close to the standard set by his two top books. The protagonist simply isn't very likeable and comes to his senses & picks the right girl only in the last few pages of the book. Far too late to overcome my general dislike for the character as completely self-serving.
This entire review has been hidden because of spoilers.
June 27, 2019
I’m wondering how so great an author can be so underrated. Scrolling through his novels, I’m seeing how little people have actually read and reviewed his work, and it’s a bit disappointing. I highly recommend this book because it’s very well written and full of adventure. However, I did not give it all five stars, because it couldn’t hold my full interest during the middle part of the story and became a little dull for some chapters. But collectively, it was a very worthy read.
August 16, 2025
Hot d*mn that was a good book. I finished it this minute and am moved to write my first ever review. Of course like any sane person I loved Prince of Foxes, The Captain of Castile, and The King’s Cavalier, but I think Lord Vanity touched me more. This one “hurts so good”. Maybe I’m simple, but for the moment I might call this my new favorite book.
October 13, 2018
Lectura de verano. Entretiene pero no más.
February 1, 2025
A bit dry in the beginning, but a very engaging novel. It pulled me in at times and pushed me away at others. I'm glad I stayed with it until the end.
March 27, 2013
A fairly good tale of Europe (And a bit of Canada) in the late 1700s, mostly focused on the nobility, those aspiring to it, and those trying to lie their way in -- with, again, an interlude to do with the battle between England and France for Quebec, and General Wolfe's victory and death.
The main character, Richard Morandi, is a noble's bastard, interested in the theatre, chafing that his blood should be as good as that of the nobles he entertains. He comes under the wing of Marcello Tromba, a charlatan passing as noble, and he spends much fot he novel torn between the rich, brilliant and hypocritical world of the nobility, and more common but more honest things. His two loves are the Contessa des Landes, who is honest with him about her shallow ambitions and her other lvoers, though she claims to love him in truth, and the danceuse Maritza Venier, who, in a time when ballerinas are little better than prostitutes, aspires to dance and be chaste and true to herself.
The action starts in Venice, continues to England, Quebec, then ultimately into Paris, the centre of the high, political and treacherous world that tempts Richard.
The books weaknesses are two. One is the kitchen sink feeling of everything that happens to Richard, from salons and plays to a turn as a galley slave and his time at war overseas. While the different places he goes do serve the theme of the story, and explain why he gets tempted by the noble world after first rejecting it, and why he turns away from it again, they also strain credulity slightly.
The second is, well, the book was published in 1953, and in some ways is a product of its time, too. While the women have agency and aspirations other than to be Richard's lover, there aren't that many of them. It does better than several more recently written books in that respect, though.
Richard's noble father has a plantation in Virgina, and the story doesn't hesitate or hide that it makes its wealth from cotton and slaves. But this is not considered problematic; the property is handed over to Richard at one point (we never actually get there) and he has no qualms about it.
Mostly, though, it comes in the description of Richard himself. He is "Dark" - not African, but a dark haired and somewhat tan-skinned caucasian; something like the "Black Irish", who were distinguishable mainly by darker hair from their fellows. Yet he is given nicknames like Moro (Moor) and noiraud, for being 'so black'. It's a peculiar attitude that is not out of place in the time period in which the story is set, nor even in the time period in which it was written, but it sits oddly with today's reader, and today's racial relations. It wasn't offensive, and yet it threw me out of the text once or twice, and might trouble some readers worse.
The main character, Richard Morandi, is a noble's bastard, interested in the theatre, chafing that his blood should be as good as that of the nobles he entertains. He comes under the wing of Marcello Tromba, a charlatan passing as noble, and he spends much fot he novel torn between the rich, brilliant and hypocritical world of the nobility, and more common but more honest things. His two loves are the Contessa des Landes, who is honest with him about her shallow ambitions and her other lvoers, though she claims to love him in truth, and the danceuse Maritza Venier, who, in a time when ballerinas are little better than prostitutes, aspires to dance and be chaste and true to herself.
The action starts in Venice, continues to England, Quebec, then ultimately into Paris, the centre of the high, political and treacherous world that tempts Richard.
The books weaknesses are two. One is the kitchen sink feeling of everything that happens to Richard, from salons and plays to a turn as a galley slave and his time at war overseas. While the different places he goes do serve the theme of the story, and explain why he gets tempted by the noble world after first rejecting it, and why he turns away from it again, they also strain credulity slightly.
The second is, well, the book was published in 1953, and in some ways is a product of its time, too. While the women have agency and aspirations other than to be Richard's lover, there aren't that many of them. It does better than several more recently written books in that respect, though.
Richard's noble father has a plantation in Virgina, and the story doesn't hesitate or hide that it makes its wealth from cotton and slaves. But this is not considered problematic; the property is handed over to Richard at one point (we never actually get there) and he has no qualms about it.
Mostly, though, it comes in the description of Richard himself. He is "Dark" - not African, but a dark haired and somewhat tan-skinned caucasian; something like the "Black Irish", who were distinguishable mainly by darker hair from their fellows. Yet he is given nicknames like Moro (Moor) and noiraud, for being 'so black'. It's a peculiar attitude that is not out of place in the time period in which the story is set, nor even in the time period in which it was written, but it sits oddly with today's reader, and today's racial relations. It wasn't offensive, and yet it threw me out of the text once or twice, and might trouble some readers worse.
December 5, 2022
Samuel Shellabarger's writing style is hard to get into at first, but I got used to it and came to appreciate the rich historical detail, especially in the Venetian scenes. The first third of the story is paced well, but it slows down and loses a lot of sparkle when Maritza is absent. On my first reading I thought Maritza Venier was adorable and by far the best character in the novel, and I definitely stand by that opinion. But Richard's likeability suffers in comparison to her . He does have a personality and clear inner conflicts, but is not an engaging character on his own. I became so bored of just reading about him wandering off to one place or another that I skimmed most of the Quebec section. I just wasn't emotionally invested in the political intrigue or the battles; I wanted more Maritza! She was the heart of the book and I think it could only be improved by her being a bigger presence instead of . Of course the moral message of the book is that love and integrity should take precedence over conformity and status, but I think having their initial relationship last longer would have heightened the emotional impact of this theme.
Lord Vanity is a convincing depiction of 18th century Europe, but falls just short in character and plot.
Lord Vanity is a convincing depiction of 18th century Europe, but falls just short in character and plot.
October 21, 2010
This was so very slow in the beginning that I really had a hard time getting into it, but eventually it picked up for me and I ended up liking it. Set during the 1750s/1760s, this book begins in Venice and travels throughout Europe as well as North America. It is a likeable historical fiction but it is a bit dated in the way it is written. Published in 1953 (another birth year read for me), it certainly does not read like a modern novel.
I did enjoy the inclusion of art, music, dance and literature. It mixed the culture and fashion of Europe's society figures with the earthiness and intrigue of some quite unsavory characters. It was really a good story and well developed but entirely too wordy.
I did enjoy the inclusion of art, music, dance and literature. It mixed the culture and fashion of Europe's society figures with the earthiness and intrigue of some quite unsavory characters. It was really a good story and well developed but entirely too wordy.
February 20, 2008
After my delightful surprise with the Prince of Foxes, I voraciously hunted down more of Shellaburger's stuff, and Lord Vanity was the result. Shellaberger's hypnotic writing was still every bit as powerful as always, but some of the book's situations led me to believe that this one would end up a dud. The ending redeemed the story for me, and I see Lord Vanity as a story with a good lesson in the end, with, of course, a lot of action and fun in-between.
January 26, 2015
My least favorite of Shellabarger's Romances. The illegitimate son of an English Lord rescued from the galleys. His father wants him to claim the upper class heritage of the family but he has fallen for a modest maid of Italy that he is faithful to. Not unenjoyable, but slower than his other books.
February 26, 2025
Rereading this for the fourth or fifth time, this time as lectio divina. It is a lesser favorite of Shellabarger's four historical fiction novels, with Captain from Castile and Prince of Foxes reigning supreme. It matches fairly evenly with The King's Cavalier, but being a lesser favorite doesn't mean bad. It is equally worthy of five stars from this wonderful a
December 4, 2011
A light hearted, enjoyable read about a young man's struggle between desires of his head and heart. The descriptions of the various countries are vivid and the characters varied and well portrayed. A good historical fiction read.
April 21, 2016
This book didn't do anything for me, I'm afraid.
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