The Crimes of Paris: A True Story of Murder, Theft, and Detection (49 page)

16
. Although the ancient Greek Democritus of Abdera posited atoms as fundamental elements of matter in the fifth century
B.C.E.
, his idea was not generally accepted for more than two thousand years.

17
. Eric Temple Bell,
Men of Mathematics
(New York: Simon and Schuster, 1965), 526.

18
. Arthur I. Miller,
Einstein, Picasso: Space, Time and the Beauty That Causes Havoc
(New York: Basic Books, 2001), 103–4.

19
. Linda Dalrymple Henderson,
The Fourth Dimension and Non-Euclidean Geometry in Modern Art
(Princeton, NJ: Princeton University Press, 1983), 38.

20
. In the book, he also dies in 820 places simultaneously.

21
. Patricia Dee Leighten,
Re-ordering the Universe: Picasso and Anarchism, 1897–1914
(Princeton, NJ: Princeton University Press, 1989), 63.

22
. Ibid., 53.

23
. Ibid., 58.

24
. Ibid., 65.

25
. Huffington,
Picasso,
83.

26
. Ibid., 86.

27
. Ibid., 88.

28
. Ibid., 89.

29
. Ibid.

30
. Ibid., 89–90.

31
. Leighten,
Re-ordering the Universe,
87.

32
. Steegmuller,
Apollinaire,
166.

33
. The name Avignon, later applied to the painting, was said by André Salmon to refer to a particular street in Barcelona, the carrer d’Avinyó (Avignon in French), but Picasso denied that this was true, and his biographer John Richardson confirms that the carrer d’Avinyó was quite respectable.

34
. Dan Franck,
The Bohemians: The Birth of Modern Art, Paris 1900–1930,
trans. Cynthia Hope LeBow (London: Weidenfeld and Nicolson, 2001), 132–33.

35
. Jarry died in November 1907, apparently without having seen the painting.

36
. Leighten,
Re-ordering the Universe,
90.

37
. Steegmuller,
Apollinaire,
191.

38
. Franck,
Bohemians,
102.

39
. Lael Wertenbaker and the editors of Time-Life Books,
The World of Picasso, 1881–1973
(Alexandria, VA: Time-Life Books, 1980), 54.

40
. Henderson,
Fourth Dimension,
80.

41
. William R. Everdell,
The First Moderns: Profiles in the Origins of Twentieth-Century Thought
(Chicago: University of Chicago Press, 1997), 248.

42
. Ibid.

43
. George Heard Hamilton,
Painting and Sculpture in Europe, 1880–1940,
The Pelican History of Art (Baltimore: Penguin Books, 1972), 238.

44
. Everdell,
First Moderns,
249.

45
. John Richardson, with the collaboration of Marilyn McCully,
A Life of Picasso,
vol. 2,
1907–1917
(New York: Random House, 1996), 211.

46
. Fernande Olivier,
Picasso and His Friends,
trans. Jane Miller (New York: Appleton-Century, 1965), 133.

47
. Ibid., 139.

48
. Steegmuller,
Apollinaire,
167.

49
. Ibid., 173.

50
. Olivier,
Picasso and His Friends,
148.

51
. Steegmuller,
Apollinaire,
173.

52
. Ibid., 174

53
. Ibid., 175.

54
. Ibid., 177.

55
. Ibid., 176.

56
. Ibid.

57
. Ibid., 211.

58
. Ibid., 212.

59
. Ibid., 217.

60
. Olivier,
Picasso and His Friends,
148–49.

61
. Ibid., 149.

62
. Steegmuller,
Apollinaire,
218–19.

63
. Ibid., 213.

64
. Ibid., 207.

65
. Ibid., 207–8.

66
. He was Polish.

67
. Willard Bohn,
Apollinaire and the International Avant-Garde
(Albany: State University of New York Press, 1997), 6.

CHAPTER SEVEN: THE MOTOR BANDITS

1
. Richard Parry,
The Bonnot Gang
(London: Rebel Press, 1987), 35.

2
. Victor Serge,
Memoirs of a Revolutionary, 1901–1941,
trans. and ed. Peter Sedgwick (Oxford: Oxford University Press, 1980), 30.

3
. Ibid., 18.

4
. Ibid., 38–39.

5
. Ibid., 39.

6
. Ibid., 40.

7
. Serge,
Memoirs,
32–33.

8
. Parry,
Bonnot Gang,
70.

9
. Ibid., 79.

10
. Ashton-Wolfe,
Forgotten Clue,
51–52 (see chap. 5, n. 27).

11
. Serge,
Memoirs,
20–21.

12
. Parry,
Bonnot Gang,
90.

13
. Serge,
Memoirs,
35.

14
. Parry,
Bonnot Gang,
97.

15
. Ibid., 101.

16
. Ibid., 111.

17
. Ibid.

18
. Maurice Leblanc, “The Most Amazing True Crime Story Ever Told: The Auto-Bandits of Paris,”
New York Times,
May 5, 1912.

19
. Belin,
Secrets of the Sûreté,
29–30 (see chap. 4, n. 51).

20
. Parry,
Bonnot Gang,
123.

21
. Ibid., 125.

22
. Ibid.

23
. Ibid., 126.

24
. Belin,
Secrets of the Sûreté,
31–32.

25
. Harry Ashton-Wolfe,
Crimes of Violence and Revenge
(Boston: Houghton Mifflin, 1929), 115.

26
. Parry,
Bonnot Gang,
128.

27
. Ashton-Wolfe,
Crimes,
116.

28
. Ibid.

29
. Parry,
Bonnot Gang,
136.

30
. Ibid., 137.

31
. Ibid., 139.

32
. Ibid., 150.

33
. Ibid., 160.

34
. Thirteen years later, in 1928, he escaped and made his way to Brazil, where the authorities refused to extradite him to France. His wife had never ceased her attempts to prove his innocence, and a year later he received a pardon.

35
. Gerould,
Guillotine,
129 (see chap. 1, n. 46).

CHAPTER EIGHT: THE THIEF

1
. James Henry Duveen,
Art Treasures and Intrigue
(Garden City, NY: Doubleday, Doran, 1935), 316–17.

2
. Reit,
Day They Stole
, 134 (see chap. 2, n. 2).

3
. Ibid., 135.

4
. Ibid., 136.

5
. Ibid., 137.

6
. Ibid., 168.

7
. Ibid., 137.

8
. Esterow,
Art Stealers,
147 (see chap. 2, n. 4).

9
. Ibid., 147.

10
. Ibid.

11
. Ibid.

12
. Ibid., 148.

13
. Reit,
Day They Stole,
143.

14
. Esterow,
Art Stealers,
149–50.

15
. The last name is spelled Perruggia on the Bertillon card in police files, but most authorities regard that as an error.

16
.
New York Times,
December 13, 1913.

17
. Reit,
Day They Stole,
142.

18
. Esterow,
Art Stealers,
150.

19
. Ibid.

20
. Jérôme Coignard,
Loin du Louvre: Le vol de la Joconde,
trans. Lyn Nosker (Paris: Éditions Olbia, 1998), 121.

21
. Reit,
Day They Stole,
155.

22
. Ibid., 163.

23
. Coignard,
Loin du Louvre,
126.

24
. Ibid., 127.

25
. Reit,
Day They Stole,
165.

26
. Esterow,
Art Stealers,
169.

CHAPTER NINE: CHERCHEZ LA FEMME

1
. Irving Wallace, “France’s Greatest Detective,”
Reader’s Digest,
February 1950, 106.

2
. Lucia Zedner, “Women, Crime and Penal Responses: A Historical Account,” in
History of Criminology,
ed. Paul Rock (Aldershot, UK: Dartmouth, 1994), 339.

3
. Berenson,
Trial of Madame Caillaux,
268–69 (see chap. 3, n. 20).

4
. Shapiro,
Breaking the Codes,
14 (see chap. 1, n. 43).

5
. Ibid., 38.

6
. Ibid.

7
. Ibid., 34.