Letters from a living dead man by David Patterson Hatch is a spiritualist epistolary work written in the early 20th century. It presents purported messages from a recently deceased thinker known as “X,” conveyed through a medium, describing the conditions, laws, and experiences of consciousness after death. Expect vivid accounts of astral travel, teachers and helpers, reincarnation, heavens and hells, and the mechanics of cross‑world communication, with recurring figures like a guiding Teacher and a boy named Lionel. The opening of this work begins with an introduction from the recorder explaining how the letters started through automatic writing in Paris, the surprising news of “X’s” death, her reluctance and later decision to publish, and her insistence that the communications be judged by their substance. The early letters then unfold: “X” asserts his presence, explains the ease and brightness of the transition, asks for discretion, and teaches safeguards against intrusive astral influences and the mental poise needed for writing. He describes movement and perception in the subtle world; the role of will; the “pattern world” of prototypes; a League that helps the newly dead; and meetings with souls, including Lionel, along with glimpses of a “heaven country” and a Christ vision. He reports visiting archives (a Paracelsus treatise), shaping garments by thought, and warns the newly departed not to revisit their corpses; he relates a marital tangle between a man and his two wives, notes individualized hells, and tells of a devoted couple reunited in a home he built for her. The section closes with reflections on finding God (“God is”), the rhythm of rebirth and eternity, a defense of this controlled collaboration (distinguishing it from indiscriminate mediumship), and a final vignette setting off to witness a great imperial funeral. (This is an automatically generated summary.)

"Blank en Bruin" by Hilbrandt Boschma is a juvenile novel written in the late 19th century. It follows Leo van Dintelburg, a Dutch-Indies boy, and his Javanese guardian Bamboe as they settle in a Dutch town, where schoolyard rivalry, class pride, and racial prejudice test character and faith. Opposite Leo stands Rudolf van Dintelburg, a privileged classmate, and the story frames youth as a choice between two paths, with a clear Christian, didactic bent. The opening of the novel sets out a prefatory promise: a contemporary Dutch tale for boys that avoids chauvinism, stays close to recent history, and urges youth to devote their lives to God by showing the contrast between serving Him and not. The story then introduces Bamboe and Leo arriving with parrots and a monkey, drawing rude curiosity from local boys led by Rudolf; Leo’s quick wit and a policeman end the first confrontation. At school, Mr. Selhof welcomes Leo, explains his mixed Dutch–Javanese background, and the class warm to him, with cultural misunderstandings (like “kool/kolen”) used for gentle humor. Tensions rise when Rudolf challenges Leo over the shared surname, but Dirk Drijver sides with Leo. Winter brings a planned, rule-bound snowball battle; Leo’s side fortifies a “fort,” a fierce fight ends with Rudolf accidentally felled by his own hard snowball, after which Leo and Bamboe tend him and Leo offers friendship—rejected out of class and color prejudice. The scene shifts to skating, where Rudolf spitefully sends a ball toward thin ice; Leo falls through, Bamboe bravely tries to save him and also goes in, and the episode breaks off with Dirk attempting a risky rescue. (This is an automatically generated summary.)

The chocolate-plant (Theobroma cacao) and its products by Anonymous is a scientific and industrial pamphlet from the late 19th century. It surveys cacao’s origins, botany, chemistry, cultivation, processing into chocolate and cocoa, their nutritional qualities, and practical culinary uses. The book opens with the pre-Columbian and early colonial history of cacao, describing indigenous roasting, grinding, and foaming methods and the swift spread of chocolate in Europe. It then details the plant’s morphology and growth, the bearing of pods on older wood, shade and irrigation needs, harvesting, fermentation (“sweating”), drying, and major producing regions. A technical chapter characterizes commercial beans microscopically and chemically, noting starch, cellulose, proteins, theobromine, ash, and especially cocoa-butter. Manufacturing chapters explain cleaning, roasting, winnowing to nibs, fine grinding into plain or sweetened chocolate, pressing to reduce fat for breakfast cocoa, and caution against chemically alkalized cocoas that diminish natural flavor. A physiological section argues cacao’s value as real food—combining carbohydrates, proteins, minerals, and theobromine—and explains why partial fat removal can aid digestion while purity and fineness are essential. The closing portion offers cooking guidance and recipes (by Mrs. Ellen H. Richards and Miss Parloa) for properly boiling chocolate and cocoa and for using them in drinks, cakes, icings, ice-cream, puddings, and Bavarian cream. (This is an automatically generated summary.)

"First course in biology" by L. H. Bailey and Walter Moore Coleman is a secondary-school biology textbook written in the early 20th century. It presents plant, animal, and human biology as a unified, practical course that favors observation, experiment, and everyday relevance over rote facts. Readers can expect clear explanations, abundant classroom and field exercises, and an ecological perspective that ties structure and function to environment. The opening of the textbook sets a reform-minded tone, advocating a single unit course in biology for secondary students and outlining flexible ways to sequence plant, animal, and human topics. A general introduction then builds essential chemistry and physics skills through simple experiments—testing acids and bases, starch, sugar, proteids, and fats; making oxygen; demonstrating oxidation; contrasting organic and inorganic matter; and analyzing a candle flame to reveal oxygen consumption, carbon (soot), and carbon dioxide. Plant Biology begins by stressing variation, environmental struggle, and selection (including human selection in breeding), then surveys plant societies (ecology), plant parts and life histories (annuals, biennials, perennials). It proceeds to seeds and germination with hands-on studies of beans, castor beans, corn, and gymnosperms, and concludes with root forms and functions—tap and fibrous systems, aerial and adventitious roots, root hairs and osmosis, nitrogen-fixing nodules, and the importance of moisture, temperature, and air—ending mid-discussion of root structure. (This is an automatically generated summary.)

"The watchmakers'' hand book : intended as a workshop companion for those… by Claudius Saunier is a technical handbook written in the late 19th century. It is a comprehensive reference for watchmakers and allied mechanical trades, focusing on practical methods, materials, tools, measurement, repairs, and finishing techniques to support daily workshop work. The opening of the handbook presents a transcriber’s note on formatting, followed by period advertisements, the title page, and a preface explaining the American edition’s practical aims, expanded content, modernized tooling, integrated illustrations, and thorough indexing. An extensive index outlines the breadth of topics, after which Part I begins by arguing that arithmetic, geometry, and drawing are essential foundations for competent watch repair and construction despite interchangeable manufacturing. It then offers concise refreshers on calculation signs, powers and roots (including square-root extraction), proportions, and the elements of practical geometry (circles, angles, plane areas, and volumes). The text proceeds to basic drawing practice and conventions, tracing and transferring methods, and key instruments (rules, protractor, scales, sector, proportional compass, vernier, micrometer screw), before introducing core geometric constructions for perpendiculars, parallels, subdivisions, and angle replication—ending mid-topic on subdividing an angle. (This is an automatically generated summary.)

"This star shall be free by Murray Leinster" is a science fiction short story written in the mid-20th century. It follows an alien ecological experiment imposed on prehistoric humans, using advanced tools and a compulsion device to explore how abundance and technology might reshape a species and its future, with themes of unintended consequences and cultural acceleration. A young cave-dweller named Tork is drawn by an alien ship’s mind-urge to its landing site, where water-dwelling Antareans gift him a device that summons living creatures and simple but transformative weapons like flint-tipped spears, knives, and bows. The tribe feasts, spreads the tools, and chaos follows as others covet the new power. When theft hits home, Tork cleverly retunes the summoning device to the aliens themselves by drawing their likeness on cave walls, trapping the ship until it trades more tools for the destruction of those images—accidentally launching the tradition of cave art and cementing humanity’s rapid rise. Millennia later, the aliens return to colonize Earth’s oceans, only to be annihilated by the now spacefaring descendants of those cave-folk, revealing the long arc of consequences set in motion by one “kind” experiment. (This is an automatically generated summary.)

"Toinen rakkaus" by Paul Bourget is a novel written in the late 19th century. It is a psychologically acute study of love, weariness, and conscience centered on Elie Laurence, a disillusioned young diplomat who becomes entangled with Claire de Velde and her lover Gérard Lairesse in Parisian high society. The narrative probes a delicate triangle where friendship, desire, and moral duty collide, examining the cost of “second love” against social judgment and inner truth. The opening of this novel first sketches Bourget’s career and method—his meticulous psychological analysis of the elite—then begins Elie Laurence’s story: after a duel abroad derails his career, he returns to Paris and confronts a profound spiritual ennui born of trivial affairs and empty routine. He unexpectedly meets Gérard Lairesse, once scandalously eloped with the dignified Claire Audry (now Claire de Velde), and is invited to their home. Elie notes subtle signs of distance between the pair—separate rhythms, awkward meals, mismatched interests—while Claire’s reserved grace and quiet sadness captivate him. Drawn to her afternoon solitude, he becomes a daily visitor, their conversations deepening into a tender, avowed “friendship.” A pivotal evening finds Claire in despair; shared sympathy binds them, and Elie realizes he loves her even as he vows to remain only a friend out of loyalty to Gérard. The segment closes with Elie’s growing jealousy and his clear sense that Gérard stays with Claire less from passion than from duty, setting the stage for the novel’s central emotional conflict. (This is an automatically generated summary.)

"Ristimiekka by Jussi Snellman" is a collection of lyric poems written in the early 20th century. The book meditates on spiritual struggle and redemption, the ache of love and solitude, and the pull of nature and conscience against the noise of modern life. The opening sequence frames a moral transformation as a killing sword becomes a blessing cross, then moves through prayers from darkness, visions of stars and hell, and images of withering trees and waterlilies torn between roots and sun. A central cluster of love poems swings between rapture and remorse: ecstatic meetings by shore and forest path, sleepless waiting, erotic abandon that still longs for the beloved’s soul, and parting as two currents drift to opposite banks. Spring poems widen the view to freedom and flight, a caged swan’s yearning, hymns to creation, and portraits of an idealist who rejects violence, a serene grandmother, and an artist whose marble dreams outshine a corrupt world. Summer brings playful and satiric pieces about haste, voyeurism, drink, and human vanity, before the voice turns inward again to say that each of us is crucified in some way. The final section follows a seeker who pleads for truth, receives a quiet commission to bear light, contemplates Gandhi’s nonviolent courage, and ends in a humble, encompassing prayer. (This is an automatically generated summary.)

"The three sphinxes, and other poems by George Sylvester Viereck" is a collection of lyric and dramatic poems written in the early 20th century. The book probes the tensions between erotic desire and spiritual idealism, drawing on myth, religion, and modern psychology to meditate on love, art, faith, and mortality. An opening essay frames the poems as “complexes” revolving around Eros, Jesus, Lilith, and Eve. The title poem stages a dialogue in the desert where facets of Love confront the sacred and the bestial; elsewhere, terse pieces weigh fate and biology, while longer monologues and ballads reimagine biblical and cultural figures to test moral codes. A fierce credo reduces human certainties to appetite and death; a visit from Christ to a Puritan town rebukes joyless piety; Faust tires of heaven and hell while yearning to fuse Helen and Marguerite; Eve speaks the long suffering of women; and tributes, elegies, and city-visions praise the stubborn life of art. Across love lyrics, satires, and visionary psalms, the collection moves between ecstasy and disenchantment, ending in stark addresses to God and man’s frail, defiant will. (This is an automatically generated summary.)

"The golden pool : A story of a forgotten mine" by R. Austin Freeman is a novel written in the early 20th century. It follows Richard Englefield, a weary English bank clerk who seizes a chance to ship out as purser on the brig Lady Jane and is drawn into West African trading, local legends, and hints of hidden gold. Guided and sometimes misled by sailors, merchants, and colonials—including Captain Bithery and the dignified trader Pereira—he stumbles on stories of a sacred treasure and a “forgotten” mine that promise peril and discovery. The opening of the story traces how a misplaced matchbox leads Englefield into a tavern brawl, a hasty rescue of a surly shipmaster, and an impulsive offer to sail as purser to the West African coast. After a fair voyage, he helps establish trade at Quittah, learning the rhythms of buying and selling palm oil, rubber, and copra, while hearing unsettling tales: a Hausa merchant’s talk of a king’s treasure house and “many blind men,” and Pereira’s account of fetish-guarded gold at the Aboasi pool. A Sunday trip inland reveals a mission graveyard and a scarred, eyeless Krepi man who seems a former Ashanti slave, deepening the mystery. Sent down the coast to Adena, Englefield meets the smooth Olympio, endures a fiery local feast, and in a secret compartment of an old sea chest discovers the faded journal of Captain Barnabas Hogg—an artifact that hints his own quest is only beginning. (This is an automatically generated summary.)

"Medieval rhetoric and poetic to 1400: Interpreted from representative works" by Charles Sears Baldwin is a scholarly study written in the early 20th century. It traces how medieval theories of composition—rhetoric and poetic—both reflected and shaped education and literature, reading them through key texts and practices. The volume follows the transmission from antiquity, the dominance of style in the schools, and the complementary roles of sermons, letters, hymnody, and verse narrative, culminating in the vernacular achievements of Dante and Chaucer. The opening of this study sets out its plan and stakes: to read medieval rhetoric and poetic historically and in tandem, showing how they descend from late Roman schooling, absorb St. Augustine’s reforming impulse for preaching, and become largely a lore of style in the hands of the medieval grammarian. It then begins with a concise genealogy of sophistic rhetoric, contrasting Plato’s suspicion with Aristotle’s broader, moral theory of rhetoric, and explaining how the loss of deliberative public speech pushed ancient practice toward display and panegyric. Baldwin sketches the “second sophistic” via Philostratus—its virtuosity, theme-based declamation, improvisation, theatrical delivery, decorative dilation (notably ecphrasis), and reliance on fixed patterns. He illustrates how school exercises (the progymnasmata of Hermogenes—fable, chria, encomium, comparison, characterization, ecphrasis, thesis, and more) crystallized habits that prized balance, archaism, clausular cadence, and vehemence over sustained argument. The section closes by implying that such empty technic required a new motive—ultimately supplied by Christian preaching—to restore rhetoric’s larger purpose. (This is an automatically generated summary.)

The Army Behind the Army by E. Alexander Powell is a historical account written in the early 20th century. It explores the often unseen services and technologies that sustained the American Expeditionary Forces in World War I—especially communications, engineering, transportation, and other logistical arms. The focus is on how specialists and technicians, rather than front-line troops alone, made large-scale modern warfare possible. The opening of the volume recasts the Signal Corps as the army’s “nerve-system,” replacing the flag-waving myth with telephones, radios, pigeons, runners, panels, lamps, and an extensive wire network. Powell outlines the corps’ rapid expansion, its recruitment of U.S. telephone talent (including female operators), the creation of color-coded outpost wire, and secrecy tools like buzzerphones and twisted-pair lines. He highlights listening-posts that tapped enemy currents, radio-intercept and direction-finding teams that mapped German nets and even staged a deceptive “false corps net,” and the reliability and heroism of carrier pigeons when every other link failed. A photographic branch—air and ground—trained specialists to map, report, teach, and buoy morale with films that countered enemy propaganda. The section closes with striking innovations: radiotelephony with aircraft, multiplexing many calls over a single wire, trees used as natural radio antennae, and a practical, unbreakable cipher-transmission device. The narrative then turns to the Engineers—motto “Essayons”—showing their vast remit from fighting as needed to building railways, ports, roads, and forests-to-lumber operations, operating inland waterways, shipping complete locomotives, and even fielding armored railcars, before introducing the life-or-death problem of supplying water to armies on the move. (This is an automatically generated summary.)

"Fools and mules : [A Shorty McKay story] by Ray Humphreys" is a Western short story written in the early 20th century. Set in the snowbound Sangre de Cristo mountains near Monte Vista, it centers on a perilous winter payroll run and a run-in with a notorious road agent. The likely topic is a frontier adventure that blends danger, irony, and rough humor to test a deputy’s judgment and highlight the surprising worth of a mule. Shorty McKay is tasked with carrying a mine’s payroll through deep snow; he rejects a mule for his trusted horse, Lobo Loco. On a narrow, icy trail he’s held up by Buck Bancroft, who rides a huge white mule, and is forced to ride that mule, bound and captive. A sudden avalanche sweeps Shorty and the mule into a snow pocket, while Lobo Loco turns back, bolts to town, and—by scraping the dozing outlaw off in a stable—delivers Bancroft and the recovered cash to the sheriff. Stranded and helpless, Shorty survives the night as the mule’s relentless braying guides Sheriff Cook’s rescue party to their hidden perch. Humbled, Shorty admits his mistake about “fools and mules,” insists the mule be saved first, and concedes that in a pinch the mule’s noise and stamina were the difference between life and death. (This is an automatically generated summary.)

"Tarutarha by Larin-Kyösti" is a collection of children’s poems written in the early 20th century. The book blends fairy-tale fantasy, Finnish folklore, and everyday rural life, offering lullabies, play-songs, letters in verse, seasonal pieces, and moral fables for young readers. Across short, melodic poems, a small girl resists a witch’s lure and runs home, a boy and his loyal dog brave make-believe dangers, and lively portraits of children—Irja, Liisa, Niilo, and Anni—show games, chores, letters to parents, and earnest prayers. House and sauna spirits (tonttu) fuss over family order and kind behavior; carols and star-processions bring Christmas awe; a street musician’s song hints at loneliness and hope; and a closing fable pits a sly raven against a wary dove to warn against flattery and deceit. Nature, home, and imagination weave through the pieces, gently guiding children toward courage, kindness, and the comfort of family. (This is an automatically generated summary.)

"Elettyjä pikkuseikkailuja" by Knut Hamsun is a collection of short stories written in the early 20th century. The pieces are autobiographical vignettes of “lived little adventures,” shifting from American prairies and Parisian boulevards to a stark Norwegian parish. A frank, restless first-person narrator observes fear, crowds, work, and the uncanny with sharp sensory detail and dry humor. Readers get atmospheric snapshots rather than a single plot, anchored by the narrator’s roaming life. The opening of the collection first offers a compact biographical sketch of the author’s life and major works, then moves into several first-person episodes. In “Pelkoa,” the narrator recalls a night in Madelia on the American prairie when intruders break into a house, triggering overwhelming terror as he bluffs them off with a single bullet. “Muuan katuvallankumous” recreates Paris street unrest in the 1890s, from barricades and smashed lamps to scuffles with police and soldiers, mixing menace with absurdity (an umbrella “confiscated” because “it’s a revolution”). “Aave” returns to a northern childhood: after pocketing a tooth from a graveyard, the boy is haunted for years by a red-bearded apparition with a missing tooth. “Vehnäaavikolla” sketches grueling harvest work on the Red River wheat plains, the eccentric Irishman Evans, a snake slipping into a Swede’s boot, and the raucous post‑payday spree where Evans borrows the narrator’s wallet to gamble, then regains control and wins back money. (This is an automatically generated summary.)

A knife in time by Ray Humphreys is a Western short story written in the early 20th century. It centers on frontier mule-skinning, workplace rivalry, and a public wagon-race where a scorned driver’s knife and nerve become crucial. Tom Morgan, a slight but gifted mule skinner, is mocked by fellow teamsters for wearing a sheath knife, despite the wagon boss McCarthy valuing his skill. When the Q B outfit brings five polished hitches to a rodeo race overseen by the owner, Ashton, the event turns dangerous: Ashton’s borrowed sorrel mule bolts, dragging him by a caught stirrup straight into the path of the racing wagons. Morgan leaps from his seat, scrambles along his moving hitch, mounts a leader, and slices that mule free to chase the runaway. His driverless team collides with another, killing a mule and injuring a driver, but Morgan presses on, transfers to the sorrel at speed, and cuts Ashton loose just in time. In the aftermath, Morgan explains he carries the knife after once losing mules he might have saved; Ashton, grateful and alive, ends the crew’s prejudice and promotes Morgan to assistant wagon boss. (This is an automatically generated summary.)

"Error''s chains : How forged and broken : A comparative history of the…" by Frank S. Dobbins is a comparative religious history written in the late 19th century. Aimed at general readers and richly illustrated, it surveys how humanity moved from an original monotheism into nature-worship, polytheism, and idolatry across civilizations, contrasting these with Christianity. Drawing on sacred texts, folklore, archaeology, and travel accounts, it traces global beliefs, myths, and rituals to show how “error” was forged and how it might be remedied. The opening of the work sets out its popular purpose, sources, and scope, then argues that humanity began with one God and later declined into many gods and idols. The preface promises a readable, illustrated tour of world religions, credits scholarly helpers, and states a Christian aim: to heighten appreciation for biblical faith and concern for the “heathen” world. Chapter I presents two witnesses for an original unity—an “old record” (Genesis) and the kinship of languages—then uses comparative folklore (the “Master Thief” cycle in Norse, Egyptian, Hindu, Spanish, and Scottish variants) to argue for a common cultural origin before the dispersion from Babel; it also notes widespread “golden age” memories and traces of a supreme deity. Chapter II explains the transition from monotheism to nature-worship and personification of the elements, quotes early hymns (Varuna, Indra, Agni, Surya) and prayers, and sketches how idols likely arose (from aids to devotion and sacred stones to animal and human forms like teraphim, Dagon, and serpent images). Chapter III begins compiling creation and flood traditions—from Chaldean Xisuthrus and Hindu Manu to Chinese Fuh-he, Mexican Coxcox/Tezpi, Fijian and North American tales, and Greek Deucalion—using their shared contours to reinforce the biblical narrative, and it moves toward the Babel story as the next link. (This is an automatically generated summary.)

"Three essays" by Thomas Mann is a collection of essays written in the early 20th century. The volume examines towering figures and ideas—chiefly Goethe and Tolstoy, but also Frederick the Great and an occult episode—to probe how art, culture, power, and belief shape human life. Expect comparative criticism, historical reflection, and personal insight rather than narrative fiction. The opening of the book presents the essay “Goethe and Tolstoy,” beginning with an anecdote about a Weimar schoolmaster who glimpsed Goethe in youth and, decades later, unknowingly hosted Tolstoy in his classroom—an encounter used to justify juxtaposing the two. From there, the author develops a wide-ranging comparison that treats the “and” between their names as a principled contrast, weighing questions of rank and “godlike” charisma, their shared Rousseauian inheritance (nature, education, confession), and the polarity of nature versus spirit, classic versus romantic, health versus disease, and freedom versus necessity. Goethe and Tolstoy are paired as children of nature and creation, set against Schiller and Dostoyevsky as champions of spirit and critique; this frames Tolstoy’s lifelong struggle to renounce nature for moral rigor, his crises and illnesses, and parallel moments in Goethe’s career. The section surveys their attitudes toward art, music, and society, evokes the pilgrim magnetism of Weimar and Yasnaya Polyana, notes their aristocratic bearing, and closes mid-argument as it contrasts Tolstoy’s sensuous realism with Dostoyevsky’s visionary idealism and revisits Goethe’s poised acceptance of necessity. (This is an automatically generated summary.)

"The common sense of sex by James Oppenheim" is a short work of popular psychology and sex education written in the early 20th century. It presents a clear, non-puritan view of sexuality, blending psychoanalytic ideas with practical guidance, and argues that sexual life is natural, varied, and best approached with informed common sense. The book surveys Freud’s account of infantile sexuality, fixation, perversion, and sublimation; contrasts it with Jung’s critiques, his introvert–extravert types, and the four functions (thinking, feeling, intuition, sensation) to show why sexuality differs so widely among individuals. It evaluates claims about a “third sex,” reframing them as mixtures of masculine and feminine principles present in everyone, and emphasizes Havelock Ellis’s “art of love,” where foreplay and mutual responsiveness elevate the act. The author warns against universal moral codes, explaining how fear, repression, mismating, and social pressures (fear of pregnancy, anxiety about impotence, rigid monogamy) distort desire, while misplaced creative energy can fuel perversions or crusading zeal. He urges sex education, compassionate guidance for youth (including handling auto-erotism), nuanced views on homosexuality and prostitution, and flexible, humane arrangements in adult relationships. It closes with an ideal of love that unites tenderness, passion, and respect, encouraging couples to find their own ethical way. (This is an automatically generated summary.)

"Die Totentänze by Wolfgang Stammler" is a concise art-historical study written in the early 20th century. It examines the medieval and later “Dance of Death” tradition, outlining its religious origins, visual forms, and didactic purpose while tracing how the motif evolved from church-wall cycles to prints and books and then into modern art. The book opens with the medieval mindset of pious vigilance before death and the folk belief that the dead dance and draw the living into their ranks, a warning the clergy turned into moral instruction. It distinguishes two main image types: an earlier, solemn, processional dance anchored by preaching and biblical scenes, and a later, livelier, often grotesque dance in which animated corpses seize their partners; key cycles in France, Germany, and beyond illustrate both strands. The author then follows the theme into manuscripts and blockbooks with captioned dialogues, where pairing a dead figure with a living one paved the way for the personified Death, culminating in the Renaissance with Holbein’s decisive reinterpretation of Death interrupting everyday life. Finally, the survey sketches the motif’s persistence through Baroque and Rococo variants to 19th- and early 20th-century renewals (including responses to war), and closes with a brief anthology of examples and images, ending on a lyrical reflection about death’s abiding presence. (This is an automatically generated summary.)