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The Sleeping Princess

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Freshly home from her Finishing School in Florence, the beautiful young Lady Odela Ford finds to her dismay that her new stepmother, the Countess of Shalford, is scheming against her and her beloved father. Odela’s mother, who she adored, has died and her father has married again rather too quickly.To her horror and mystification she overhears one day her stepmother ordering her lover, the Viscount More, to marry Odela – for her money as he has very little himself.This is the first that Odela hears of the American oil shares that her late mother left her, which have now accumulated into a vast fortune. Unwilling to tell her father that he is being betrayed by his wife, Odela seeks refuge with her old Nanny at the country house of the Marquis of Trancombe. Almost straight away there is an undeniable and irresistible attraction between her and the handsome Marquis. But no sooner has she found safety than new danger appears in the form of a ruthless thief and she finds herself, together with the Marquis, imprisoned under threat of death. Will she and her hero die ignominiously before their love can be awakened?

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AUTHOR’S NOTE
AUTHOR’S NOTEIt was at the beginning of the seventeenth century that the English aristocrats became connoisseurs and began making collections for their Stately Homes. The greatest portrait painter of the era was Sir Anthony Van Dyck and it is thought that he was seen first in Rubens’s Studio in Antwerp by travelling Noblemen. It was men like Thomas Howard the Earl of Arundel, who persuaded Van.Dyck to come to England. After eleven years, when his skill was known and admired all over Europe, he returned to England for a second time to begin a series of portraits of the Royal Family. His triple portrait of King Charles I was a brilliant example of his skill. Another of Van Dyck’s wonderful portraits was of Thomas Wentworth the Earl of Stafford, while others were of Lord Derby and the Earl of Penbrook. It became a trademark of every Van Dyck picture that the hands of his subject, with their thin aristocratic fingers, were outstanding and different from the hands painted by any other artist.

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