Her Serene Highness: A Novel — Story, Setting & Ideas

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In Category - Classic Romance
Phillips, David Graham, 1867-1911 Project Gutenberg 2020 Not confirmed
Love stories; Man-woman relationships -- Fiction; Princesses -- Fiction; Americans -- Foreign countries -- Fiction; Art -- Collectors and collecting -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 29,136
Reading time 127 min
Text sections 18

The source record for Her Serene Highness: A Novel — Story, Setting & Ideas measures this digital text at 29,136 words, 2 hr 7 min estimated reading time, and 18 detected text sections.

The text analysis averages about 13.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Love stories,” connecting these edition facts with the source record’s subject description.

David Graham Phillips's novel contrasts American collector Grafton's pragmatic art dealings with the rigid ceremonial life of a European principality, where a disputed Velasquez painting becomes a pawn in a clash of values between the Grand Duke and his daughter Erica.
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Editorial Edition Score 4.7/5

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Read the Text

Everybody looked round, and the auctioneer replied, “It’s just been sold.”

There was a laugh, Grafton looked so wild and strange. Leaning on the arm of the nurse he went to the settlement desk. “To whom was that picture sold?” he said to the clerk.

“On a cable from Paris, Mr. Grafton,” interrupted one of the members of the auction firm. “We’ve had a standing order from Candace Brothers for five years to let them know if the picture came or was likely to come into the market. And they’ve cabled every six months to remind us. When Mr. Acton decided to sell, we sent word. They ordered us to buy, with fifteen thousand dollars as the limit.”

Grafton was furious; he would gladly have paid twenty. “And what did it go for?” he asked.

“Seventeen hundred,” replied the dealer. “Everybody was suspicious of it. We would have got it for five hundred, if it hadn’t been for an artist; he bid it up to his limit.”

“I must sit,” said Grafton to his nurse. “This is too much--too much.”

He was little the worse for his imprudence, and was able to sail on the steamer that carried the picture. He beat it to Paris, and went at once to Candace Brothers, strolling in as if he had no purpose beyond killing time by looking about. He slowly led the conversation round to a point where Louis Candace, to whom he was talking, would naturally begin to think of the Acton sale.

“We’re getting in several pictures from New York,” said Candace--“from the Acton sale.”

“I was ill while it was on,” said Grafton, carelessly. “What did you take?”

“A Rousseau, a Corot, a Wyant, and a--Velasquez.” He hesitated before speaking the last name, and looked confused as Grafton slightly elevated his eyebrows. “Of course,” he hurried on, “we strongly suspect the Velasquez; in fact, we know it’s not genuine. But we’re delighted to get it.”

“I don’t understand,” said Grafton. “I know you too well to suspect that it will be sold as a Velasquez.”

“But certainly not. Even if we did that sort of thing, we couldn’t deceive any of your rich countrymen or any of the English with it. The story is too well known. No; we bought it for His Royal Highness the Grand Duke of Zweitenbourg. It is--or he thinks it is--a portrait of one of his Spanish ancestors. His agent tells me that it is the only known work of a remarkable young Spaniard who was soon afterwards killed at the siege of Barcelona, early in the eighteenth century. They are not even sure of his name. The Grand Duke was most anxious to get it. For years we have been sending him semiannual bulletins on Monsieur Acton’s health and financial condition.”

Grafton’s heart sank. Here was a true collector--a past-master of the art. “If I hadn’t been a mere novice,” thought Grafton, “I, too, would have had bulletins on Acton, and a standing order. As it is, my trouble has only begun,” for, being himself a true collector, with all the fatalism of the collector’s temperament, he was not despairing, was only the more resolute in face of these new difficulties.

“His Royal Highness,” continued Candace, “wants the picture because it fills one of the gaps in his gallery of ancestral portraits.” Under skilful questioning, Candace yielded the further information that the keeper of the Grand Duke’s privy purse, Baron Zeppstein, would arrive the following Thursday personally to escort the picture to Zweitenbourg.

It reached Paris on Tuesday, and Grafton took Jack Campbell, whom he found at the Ritz, round to Candace’s on Wednesday morning. Campbell, having been thoroughly coached, made offers for several pictures, all too low, then pretended to fall in love with the Spaniard. He insisted that it was a Velasquez--Grafton seemed to be disgusted with him, somewhat ashamed of him. When Candace told him that the picture was sold, he had them send a telegram to the Grand Duke offering eight thousand dollars for it. A curt refusal to sell at any price came a few hours later.

Campbell and Grafton were there the next morning when Baron Zeppstein came. As he was voluble, and appreciative of the rare pleasure of an attentive listener, Grafton rapidly ingratiated himself, and soon had him flowing on the subject of “my royal master.”

The novel opens with a detailed portrait of Grafton, a young American collector who combines 'right instinct and right judgment' in his pursuit of art, contrasting sharply with the 'pretentious plutocrats' he disdains. His father's costly mistake—a spurious Velasquez bought for eleven thousand dollars—becomes a thread that leads him into the stifling, ceremony-bound world of a German principality. There, the Grand Duke Casimir lives in a dusty, airless 'cosey corner' of his own palace, surrounded by gaudy state rooms that are 'impossible as human habitations.' This tension between genuine taste and hollow display, between American directness and European formality, drives the early chapters.

The Collector's Eye and the Grand Duke's Hoard

Grafton is not a mere buyer but a 'true collector' who knows how to 'lie in wait patiently, how to search secretly.' His pride comes from the skill of acquisition, not just possession. When he sees the disputed Spaniard in Henry Acton's collection, he is struck by its 'boldness' and 'imagination,' even as he doubts its attribution to Velasquez. This discernment sets him apart from the Grand Duke, who clings to the painting as 'one of my ancestors' despite knowing its provenance is uncertain. The Grand Duke's collection, glimpsed in the excerpts, includes Rembrandts and a 'Woman with the Earrings,' but his attachment to the Spaniard seems less about art than about status and family legend. Grafton's offer to exchange a more valuable picture is met with stubborn refusal, hinting at a deeper conflict between aesthetic value and dynastic pride.

Ceremony as a Cage

The luncheon scene at The Castle is a masterclass in oppressive ritual. Each dish for the Grand Duke is passed 'from servant to servant in ascending order,' then through gentlemen-in-waiting 'in ascending rank' before reaching him. The others are served with 'almost equal elaboration,' yet the atmosphere is tense: the Grand Duke's children, Erica and Aloyse, 'sat gazing into their plates and did not speak.' Grafton watches 'marvelling that any one would tolerate these ceremonies day after day.' The contrast between the public pomp and the private squalor of the Grand Duke's living quarters—a small, dusty room with tight-shut windows and a 'ragged old lounge'—underscores the hollowness of court life. The Grand Duke himself admits, 'I have to have some place where I can be comfortable,' revealing the strain of maintaining the facade.

Tensions Beneath the Surface

Several conflicts simmer in the excerpts. The Grand Duke and his son have evidently quarreled before Grafton's arrival—'there had been a storm, doubtless a quarrel.' Aloyse, the son, delivers a summons to luncheon with stiff formality, but also mentions a separate 'matter' to be brought to Grafton's attention by an officer, suggesting political or personal intrigues beyond the art negotiation. Erica, the princess, remains silent throughout the meal, her role unclear but her presence noted. Grafton's impatience with the Grand Duke's stuffy room—'if he stayed there many minutes he would faint'—mirrors his broader discomfort with the principality's suffocating traditions. The novel seems poised to explore how these personal and cultural tensions intersect with the fate of the disputed painting.

Readers should attend to the recurring motif of airlessness—the Grand Duke's sealed windows, the 'clammy cool' state rooms—as a physical correlative to the psychological and social constraints that characters navigate. The excerpts offer only glimpses of Erica and Aloyse, but their silence at table suggests they may be key to the story's development. Phillips's prose, with its sharp eye for detail and irony, rewards close reading of the ceremonial set-pieces and the quiet rebellions they provoke.

That moment in Her Serene Highness—where Erica’s quiet defiance ripples through all that rigid ceremony—stayed with me long after. The way a painting becomes a mirror for what people truly value. There’s a gentler echo of that in Sant' Ilario — A Reader’s Guide, where old loyalties press against new hearts. It felt like revisiting a familiar, half-remembered twilight.

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