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 Cod
i
Clu ng
Python b
Building
BIG Apps level 3
Chris Roffey
 Cod
i
Clu ng
Python b
Building
BIG Apps level 3
Chris Roffey
cambridge university press
Cambridge, New York, Melbourne, Madrid, Cape Town,
Singapore, São Paulo, Delhi, Mexico City

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

www.cambridge.org
Information on this title: www.cambridge.org/9781107666870

© Cambridge University Press 2013

This publication is in copyright. Subject to statutory exception

and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of Cambridge University Press.

First published 2013

Printed in Poland by Opolgraf

A catalogue record for this publication is available from the British Library

ISBN 978-1-107-66687-0 Paperback

Cambridge University Press has no responsibility for the persistence or

accuracy of URLs for external or third-party internet websites referred to in
this publication, and does not guarantee that any content on such websites is,
or will remain, accurate or appropriate.
Contents
Introduction 4

Chapter 1: Can you guess my password? 7

Chapter 2: Objects, classes and factories 17

The MyPong Project 32

Chapter 3: Creating the Table 34

Chapter 4: Making the Ball 51

Chapter 5: Building the Bats 69

Chapter 6: The rules and scoring 91

Bonus Chapter: Two more games 106

Taking things further 120

Appendix: Some key bits of information 123

Glossary and index 126

Quick Quiz answers 131

Acknowledgements 132
Contents 3
Introduction
Who is this book for?
This book is the Level 3 core book in the Coding Club series. Before reading this, you should
have either read Coding Club, Python: Next Steps or have become familiar with Python 3 and
learned about variables, while loops, lists and tuples. This book is aimed at coders with a
little bit of previous programming experience.

Why should you choose this book?

Building larger programs and applications can seem daunting. As well as sorting out the
normal details and algorithms, the big picture has to be maintained. This book helps you to
see your way through the big picture – it shows you how to break your applications up into
manageable chunks that are logical, and even better, reusable. To do this you are given an
introduction to a style of programming called object oriented programming (OOP). This is
a great way to program but might seem a little more complicated at first than the way you
have learned to code in the level 1 and 2 books.

Introduction 4
At this stage in your coding it is important that you are introduced to classes and objects.
This is because you will certainly want to use other people’s classes, and to do this effectively
a little understanding goes a long way. What is special about this book is how the
explanations are rooted in the real world and use analogies that you will understand. The
code is also built so that it mirrors real objects whenever possible. This is so that when you
go on to write your own applications you will be able to imagine how to convert real objects
into coded objects.

What you will need

Any type of computer can run Python 3. If yours does not already have it installed, there is a
section on the companion website (www.codingclub.co.uk) that guides you through installing
IDLE and Python 3. This only takes about 5 minutes, and is all you require to get started.

So that you do not have to do too much typing and do not get lost in the bigger projects,
there are start files and, if you need them, finished files for all the projects in the book in one
easily downloadable zip file. The website also has answers to the puzzles and challenges to
help you if you get stuck.

How to use this book

The ideal way to use this book is to read everything carefully and build all the main projects
in order. At the end of each chapter there are further ideas, and challenges that you can
think of as ‘mini quests’. Some readers will want to work through them all so that they
understand everything all the time. Some of you will probably prefer to rush through and get
to the end. Which approach is best? The one you are most comfortable with. However, if you
are being guided by a teacher, you should trust their judgement so that they can help you in
the best possible way.
Introduction 5
There are four ways in which this book tries to help you to learn:

1 Typing out the code – this is important as it encourages you to work through the code a
line at a time (like computers do) and will help you to remember the details in the future.
2 Finding and fixing errors – error messages in Python give you some clues as to what
has gone wrong. Solving these problems yourself will help you to become a better
programmer. To avoid feeling bored and frustrated though, the code can be downloaded
from the companion website www.codingclub.co.uk
3 Experimenting – feel free to experiment with the code you write. See what else you can
make it do. If you try all of the challenges, puzzles and ideas, and generally play with the
code, this will help you learn how to write code like a pro.
4 Finally, this book will not only provide the code to build some pretty cool, short
projects – it will also teach you how the programs were designed. You can then use the
same methods to design your own applications.

A word of warning
You may be tempted to simply get the code off the website instead of typing it yourself. If you
do, you will probably find that you cannot remember how to write code so easily later. In
this book you will only be asked to type small chunks of code at a time – remember that this
will help you understand every detail of each of your programs.

Introduction 6
Chapter 1
Can you guess my password?
This book assumes that you have read Coding Club: Python Basics. If you have not, you
should at least understand what variables and functions are and know how to use IDLE in
both interactive mode and script mode. In this first chapter you will recall some of this by
making a very simple application called ‘Guess My Password’. You will then have revised:

• variables

• if, elif and else

• functions

• while loops

• modules

• using IDLE’s script mode.

Chapter 1: Can you guess my password? 7

Guess My Password
The game is going to start by asking the player to guess my password. The app then waits for
the player’s input, which is stored in a variable. Finally, the player’s input will be compared
with the computer’s own secret password. If the guess is correct the player is congratulated, if
not, a random message is supplied and then the player is asked to try again.

As in the previous Coding Club books, you will use IDLE, an example of an IDE. You can start by
opening IDLE and then choosing New Window from the File menu. This gets you into IDLE’s script
mode. It is a good idea to now re-arrange the windows so that the interactive mode console and
new window are next to each other and both can be seen at the same time (Figure 1.1).

Python 3.1.3 (r313:86834, Nov 28 2010, 10:01:07) # GuessMyPassword.py is a quick revision application.
[GCC 4.4.5] on linux2
Type "copyright", "credits" or "license()" for more information. import random
==== No Subprocess ====
>>> # Initialise variables:
Hello. response1 = "I am afraid not. Please try again."
response2 = "That is a good password but not my password. Keep guessing."
See if you can guess my password? Abracadabra response3 = "That is not my password. It really is easy to guess my password."
I am afraid not. Please try again. response4 = "Well done! You must work for MI6. Give my regards to James Bond."
MY_PASSWORD = "my password"
What is your next guess?
# Function to find out if the user has guessed correctly:
def is_correct(guess, password):
if guess == password:
guess_correct = True
else:

interactive mode script mode

Figure 1.1 A simple IDLE arrangement.
Chapter 1: Can you guess my password? 8
Copy the code from Code Box 1.1 and save the file to your Python Code folder as
GuessMyPassword.py. You may not have a Python Code folder so you might need to create
one first. Choose a sensible place to save this, such as your Documents folder.

Code Box 1.1

# GuessMyPassword.py is a quick revision application.

import random

# Initialise variables:
response1 = "I am afraid not. Please try again."
response2 = "
That is a good password but not my password. Keep guessing."
response3 = "
That is not my password. It really is easy to guess my password."
response4 = "
Well done! You must work for MI6. Give my regards to James Bond."
MY_PASSWORD = "my password"

Analysis of Code Box 1.1

Comments

Comments appear in red in IDLE; these are aimed at humans only and begin with the
hash symbol #.

Chapter 1: Can you guess my password? 9

Modules

A module is a collection of useful functions and data in one place. Sometimes we will want
to write our own. Modules have to be imported before they can be used. In this app the
random module is imported so that it can be used later in the program. Variable value
(a string)
n
Variables

i
ase t r y a ga
These are labels we make to allow us to access data. We create a variable by giving it a
name and then assign data to it using the equals operator. Good programmers begin
their variable names with lowercase letters and make them descriptive. The name for
a constant is all in capitals.

Ple
You have just created five string type variables and labeled them response1,
response2, response3, response4 and MY_PASSWORD. response1
MY_PASSWORD is a constant – it does not change.

Functions
Variable name
Figure 1.2 A variable called response1
storing a string.
A function is a piece of code that can be used again and again. You can already
use any of the many functions that are built into Python. You can also make your own.
Functions are created with the def keyword. Here is the code for a function that finds out if
the guess is the correct password.

Chapter 1: Can you guess my password? 10

Code Box 1.2 Have you saved yet?
# Function to find out if the user has guessed correctly: You should try and
remember to do so after
def is_correct(guess, password):
entering each Code Box.
if guess == password:
guess_correct = True
else:
guess_correct = False
return guess_correct

Add the code from Code Box 1.2 to your GuessMyPassword.py file. The is_correct()
function has to be passed an argument called guess and another argument called
password. The function then compares the two strings. If they are the same, the function
sets the guess_correct variable to True, if not it sets it to False. Finally the function
will return True or False – depending on the state the guess_correct variable is in.
A variable that only stores the values True or False is called a boolean variable.

User input
To get user input from the keyboard we use Python’s input() function which waits for the
user to type some text and press the enter key. If we want to be able to access the input later
we need to assign it to a variable like this:

user_input = input()

Chapter 1: Can you guess my password? 11

The function can also take an argument, usually a string, which can act as an output
message. This appears on the screen and then the program waits for the user’s input:

user_input = input("Please type some input: ")

Now we are able to access the input, for example, in a print function:

print(user_input)
This program contains
one of those jokes that
We use the input() function three times in this program, in two different ways. are far more fun to tell
Now it is time to finish the program by adding the code from Code Box 1.3 to your than to hear.

GuessMyPassword.py file. As you type, think carefully about what each line does.

Code Box 1.3

# Start the game:
print("Hello.\n")
users_guess = input("See if you can guess my password? ")

# Use our function:

true_or_false = is_correct(users_guess,MY_PASSWORD)

# Run the game until the user is correct:

while true_or_false == False:
computer_response = random.randint(1, 3)

Chapter 1: Can you guess my password? 12

 Another Random Document on
Scribd Without Any Related Topics
He did not come near me, and made no attempt to console me. He was
wounded by what I had said. His voice was calm and dry, as he began:
“I do not know what you have to reproach me with, except that I do not
love you as I used to do!”
“As you used to love me!...” I murmured under my handkerchief,
drenching it with bitter tears.
“And for that, time and ourselves are equally guilty. For each period
there is one suitable phase of love....”
He was silent.
“And shall I tell you the whole truth, since you desire frankness? Just as,
during that first year of our acquaintance, I spent night after night without
sleep, thinking of you and building up my own love, until it grew to fill all
my heart, so in St. Petersburg and while we were abroad I spent fearful
nights in striving to break down and destroy this love which was my
torment. I could not destroy it, but I did at least destroy the element which
had tormented me; I became tranquil, and yet I continued to love you,—but
it was with another love.”
“And you call that love, when it was nothing but a punishment!” I
replied. “Why did you let me live in the world, if it appeared to you so
pernicious that because of it you would cease to love me?”
“It was not the world, my dear, that was the guilty one.”
“Why did you not use your power? Why did you not strangle me?
Murder me? That would have been better for me to-day than to have lost all
that made my happiness,—it would have been better for me, and at least
there would not have been the shame!”
I began to sob again, and I covered my face.
Just at that moment Macha and Sonia, wet and merry, ran up on the
terrace, laughing and talking; but at the sight of us their voices were hushed,
and they hurried into the house.
We remained where we were, for a long time, silent; after they were
gone, I sobbed on until my tears were exhausted and I felt somewhat
calmer. I looked at him. He was sitting with his head resting on his hand,
and appeared to wish to say something to me in response to my glance, but
he only gave a heavy sigh and put his head down again.
 I went to him and drew his hand away. He turned then, and looked at me
thoughtfully.
“Yes,” he said, as if pursuing his own thoughts, “for all of us, and
particularly for you women, it is necessary that we should ourselves lift to
our own lips the cup of the vanities of life, before we can taste life itself; no
one believes the experience of others. You had not, at that time, dipped very
deep into the science of those entrancing and seducing vanities. Therefore I
allowed you to plunge for a moment; I had no right to forbid it, simply
because my own hour for it was long since over.”
“Why did you let me live among these vanities, if you loved me?”
“Because you would not—nay, more, you could not—have believed me
about them; it was necessary for you to learn for yourself; and you have
learned.”
“You reasoned a great deal,” said I. “That was because you loved me so
little.”
We were silent again.
“What you have just said to me is hard, but it is the truth,” he resumed,
after a while, rising abruptly, and beginning to walk about the terrace; “yes,
it is the truth! I have been to blame,” he went on, stopping before me....
“Either I ought not to have let myself love you at all, or I ought to have
loved you more simply—yes!”
“Sergius, let us forget everything,” said I, timidly.
“No, what is gone never comes again, there can be no turning back ...”
his voice softened as he spoke.
“It has already come again,” said I, laying my hand on his shoulder.
He took the hand in his, and pressed it.
“No, I was not telling the truth, when I pretended not to regret the past;
no, I do regret your past love; I bitterly mourn over it,—this love, which can
no longer exist. Who is to blame? I do not know. Love there may even yet
be, but not the same; its place is still there, but darkened and desolated; it is
without savor and without strength; the remembrance has not vanished, nor
the gratitude, but....”
“Do not speak so,” I interrupted. “Let it come to life again, let it be what
it was.... Might that be?” I asked, looking into his face. His eyes were
serene, quiet, and met mine without their old deep look.
 Even as I asked the question I felt the answer, felt that my wish was no
longer possible to realize. He smiled; it seemed to me an old man’s smile,
gentle and full of peace.
“How young you still are, and how old I am already!” he said. “Why
delude ourselves?” he added, still with the same smile.
I remained near him, silent, and feeling my soul grow more and more
tranquil.
“Do not let us try to repeat life,” he went on, “nor to lie to ourselves. But
it is something, to have no longer, God willing, either disquiet or distress.
We have nothing to seek for. We have already found, already shared,
happiness enough. All we have to do now is to open the way,—you see to
whom....” he said, pointing out little Vania, in his nurse’s arms, at the
terrace door. “That is necessary, dear love,” he concluded, bending over me
and dropping a kiss on my hair.
It was no longer a lover, it was an old friend who gave the caress.
The perfumed freshness of night was rising, sweeter and stronger, from
the garden; the few sounds audible were solemn and far off, and soon gave
way to deep tranquillity; one by one the stars shone out. I looked at him,
and all at once I became conscious of infinite relief in my soul; it was as if a
moral nerve, whose sensitiveness had caused me keen suffering had
suddenly been removed. Quietly and clearly I comprehended that the
dominant sentiment of this phase of my existence was irrevocably gone, as
was the phase itself, and that not only was its return impossible, but that it
would be to me full of unendurable pain. There had been enough of this
time; and had it indeed been so good,—this time, which to me had seemed
to enclose such joys? And already it had lasted so long, so long!
“But tea is waiting,” he said, gently; and we went together to the
drawing-room.
At the door I met Macha, and the nurse with Vania. I took the child in
my arms, wrapped up the little bare feet, and, holding it close to my heart,
barely touched its lips with a light kiss. Almost asleep as it was, it moved its
little arms, stretched out the crumpled fingers, and opened its bewildered
eyes, as if trying to find or remember something; all at once its eyes fell on
me, a look of intelligence sparkled in them, and the pink pursed-up lips
lengthened in a baby smile. “You are mine, mine!” thought I, with a
delicious thrill running through me, and as I strained it to my heart I was
half afraid of hurting it with my eager embrace. Over and over I kissed its
cold little feet, its breast, its arms, and head with the scant covering of
down. My husband came up to us, quickly drew the wrapping over the
baby’s face, then, drawing it away again:
“Ivan Sergevitch!” he said with finger under the little chin.
But I, in my turn, covered up Ivan Sergevitch. No one should look at him
so long, except myself. I glanced at my husband, his eyes laughed as they
rested on mine, and it was long since I had met his with such happy joy.
This day ended my romance with my husband. The old love remained,
and the dear remembrance of what could never come back to me; but a new
love for my children and my children’s father, began another life and
another way of happiness, up to this hour unending ... for at last I know that
in home, and in the pure joys of home will be found—real happiness!
THE END.
 WAR AND PEACE. A Historical Novel, by Count Leon Tolstoï,
translated into French by a Russian Lady and from the French by Clara
Bell. Authorized Edition. Complete, Three Parts in Box. Paper, $3.00.
Cloth, $5.25. Half calf, $12.00.
Part I. Before Tilsit, 1805-1807, in two volumes. Paper, $1.00. Cloth,
$1.75 per set.
“ II. The Invasion, 1807-1812 in two volumes. Paper, $1.00. Cloth,
$1.75 per set.
“ III. Borodino, The French at Moscow—Epilogue, 1812-1820, in
two volumes. Paper, $1.00. Cloth, $1.75 per set.

OPINIONS OF THE PRESS.

“A story of Russia in the time of Napoleon’s wars. It is a story of the
family rather than of the field, and is charming in its delineations of quaint
Russian customs. It is a novel of absorbing interest, full of action and with a
well managed plot; a book well worth reading.”—Philadelphia Enquirer.
“The story of ‘War and Peace’ ranks as the greatest of Slavic historical
novels. It is intensely dramatic in places and the battle scenes are marvels of
picturesque description. At other points the vein is quiet and philosophical,
and the reader is held by the soothing charm that is in complete contrast
with the action and energy of battle.”—Observer, Utica, N.Y.
“War and Peace is a historical novel and is extremely interesting, not
only in its description of the times of the great invasion eighty years ago,
but in its vivid pictures of life and character in Russia.”—Journal of
Commerce, New York.
“On general principles the historical novel is neither valuable as fact nor
entertaining as fiction. But ‘War and Peace’ is a striking exception to this
rule. It deals with the most impressive and dramatic period of European
history. It reproduces a living panorama of scene, and actors, and
circumstance idealized into the intense and artistic life of imaginative
composition, and written with a brilliancy of style and epigrammatic play of
thought, a depth of significance, that render the story one of the most
fascinating and absorbing.”—Boston Evening Traveller.
Wm. S. Gottsberger, Publisher, New York.
 THE COSSACKS.—A Tale of the Caucasus in 1852, by Count Leo
Tolstoy, from the Russian by Eugene Schuyler. One vol. Paper, 50 cts.
Cloth binding. $1.00.

“The Cossacks” forms the culmination of the period in which he

photographed with miraculous realism and no definite purpose, detached
pictures of life and studies of the affections, and the period in which he
began to see and suggest the spiritual meaning of and the chain of ultimate
purpose binding together the panorama of human existence. The book is an
idyl of semi-barbarous life and yet the hero begins to struggle with the
problems that puzzled Sergius, that Levin half solved, and from which
Tolstoi himself escapes in a Quaker creed.
Olenin is a young Russian noble whose career has simulated outwardly
that of his companions, but whose soul has been unsatisfied and empty,
driving him finally to break away from his old associations and go for a
campaign in the Caucasus. With that campaign the story does not concern
itself, going on to its conclusion when the young man settles down in a
Cossack village to wait for his promotion. This portion of the book is
inimitable for the slight, almost imperceptible touches through which
Tolstoi has the power, greater than that of any one else, of reproducing the
actual scene he wishes to transcribe. This power can scarcely be called
realism. It might be better characterized as realization. It is possible in this
way to know the exact life of this brave, indolent, good-tempered, healthful
race of half-Russians, half-Circassians, and to feel the charm they possessed
for Olenin. It is a curious fact that the most civilized natures are most akin
to barbarism. The simple directness of barbaric virtues, the healthy passion
and aggressiveness of its vices make the process of atavism easy to a nature
that has risen above the mere materialism of civilization. The process of this
reversion in Olenin is hastened, of course, by love for a Cossack woman,
one of those clean-minded girls who think no harm in a kiss or caress, but
whose virtue is an absolute and natural thing that admits of no question or
discussion. His love is not of the kind that could mean her dishonor, and he
asks for Marianka’s hand in marriage, feeling helplessly and hopelessly all
the while that real union is impossible between them—that though he can
understand her and go down into her semi-barbarism, she can never know
him or appreciate the motives that impel him to leave a state that she
considers higher than her own. The story ends abruptly and what is called
by the professional novel-reader “unsatisfactorily.” Marianka clings in
preference to her Cossack lover, and Olenin feeling despairingly that this
rude, simple, barbarous life can never absorb, can only encyst him, goes
rack to his duties at the front.—New York World.

THE
EBERS GALLERY
A COLLECTION OF PAINTINGS
ILLUSTRATING THE
ROMANCES OF GEORG EBERS
BY THE FOLLOWING ARTISTS
L. Alma-Tadema, W. A. Beer, W. Gentz, P. Grot-Johann,
H. Kaulbach, Ferd. Keller, O. Knille, F. Simm,
Laura Tadema, E. Teschendorff, P. Thumann.
TWENTY ILLUSTRATIONS
WITH DESCRIPTIVE LETTER-PRESS
Printed from handsome large new type on plate-paper
Photographic Reproduction by Friedrich Bruckmann of Munich
In loose sheets, in cloth covered box, $22.50
One Vol., Folio, bound in half morocco, gilt edges, by Alfred
40.00
Matthews,
One Vol., Folio, superbly bound in full morocco extra, by Alfred
50.00
Matthews,
William S. Gottsberger, Publisher, New York.
 THE BRIDE OF THE NILE, a Romance, by Georg Ebers, from the
German by Clara Bell. Authorized edition, in two volumes. Price,
paper covers, $1.00, cloth binding, $1.75 per set.
“This romance has much value, apart from its interest as a narrative. The
learned author, who has made the Land of the Nile an object of special
study and research, throws a clear, steady light on one of those complicated
periods of history when nationality seems submerged in the conflicting
interests of sects and factions. The history of Egypt towards the middle of
the seventh century, A. D., forms a sort of historical whirlpool. The tide of
Moslem invasion and the counter-current of patriotism were temporarily
swayed by the intermingling currents of sectarianism, ecclesiasticism and
individual self-interest.
“All the leading characters are typical of these contending forces, and
also display an unreasoning impulsiveness in both love and hatred,
characteristic of a tropical clime.
“The Egyptian heathen, the Egyptian Christian, the Greek Christian, the
Moslem and Ethiopian show the feelings peculiar to their political
conditions by word and act, thus making their relationship to one another
very distinct, and though not an historical study, at least a study of the
probabilities of that epoch. It is also a reliable picture of the manners,
customs and civilization of a period less generally known than those
remote, and consequently more attractive periods of the building of the
pyramids, and of the Pharoahs.
“The portrayal of individual character and arrangement of incidents are
necessarily secondary to the higher aims of this entertaining and instructive
romance. It is only towards the end of the second volume that the
significance of the title becomes apparent. The ‘Bride’ was a Greek
Christian doomed by the superstitious authorities to be drowned in the Nile
as a sacrifice to appease the anger of the creative powers, supposed to be
withholding the usual overflow of its waters. She escaped her watery fate,
and her rival, an unprincipled heiress, became a voluntary sacrifice through
vanity and despair. This author has already won much renown by previous
romances founded on interesting epochs of Egyptian history.”—Daily Alta,
California.
William S. Gottsberger, Publisher, New York.
 THE MARTYR OF GOLGOTHA, by Enrique Perez Escrich, from
the Spanish by Adèle Josephine Godoy, in two volumes. Price, paper
covers, $1.00. Cloth binding, $1.75.
“There must always be some difference of opinion concerning the right
of the romancer to treat of sacred events and to introduce sacred personages
into his story. Some hold that any attempt to embody an idea of our
Saviour’s character, experiences, sayings and teachings in the form of
fiction must have the effect of lowering our imaginative ideal, and
rendering trivial and common-place that which in the real Gospel is
spontaneous, inspired and sublime. But to others an historical novel like the
‘Martyr of Golgotha’ comes like a revelation, opening fresh vistas of
thought, filling out blanks and making clear what had hitherto been vague
and unsatisfactory, quickening insight and sympathy, and actually
heightening the conception of divine traits. The author gives also a wide
survey of the general history of the epoch and shows the various shaping
causes which were influencing the rise and development of the new religion
in Palestine. There is, indeed, an astonishing vitality and movement
throughout the work, and, elaborate though the plot is, with all varieties and
all contrasts of people and conditions, with constant shiftings of the scene,
the story yet moves, and moves the interest of the reader too, along the
rapid current of events towards the powerful culmination. The writer uses
the Catholic traditions, and in many points interprets the story in a way
which differs altogether from that familiar to Protestants: for example,
making Mary Magdalen the same Mary who was the sister of Lazarus and
Martha, and who sat listening at the Saviour’s feet. But in general, although
there is a free use made of Catholic legends and traditions, their effort is
natural and pleasing. The romance shows a degree of a southern fervor
which is foreign to English habit, but the flowery, poetic style—although it
at first repels the reader—is so individual, so much a part of the author, that
it is soon accepted as the naive expression of a mind kindled and carried
away by its subject. Spanish literature has of late given us a variety of
novels and romances, all of which are in their way so good that we must
believe that there is a new generation of writers in Spain who are discarding
the worn-out forms and traditions, and are putting fresh life and energy into
works which will give pleasure to the whole world of readers.”—
Philadelphia American, March 5, 1887.
William S. Gottsberger, Publisher, New York.

THE KING’S TREASURE HOUSE.—A Romance of Ancient Egypt,

by Wilhelm Walloth, from the German by Mary J. Safford, in one vol.
Paper, 50 cts. Cloth, 90 cts.
“It deals, in the main, with the cruel bondage of the Israelites in Egypt,
and is remarkably varied in incident and impressive in dramatic power. The
interest is uncommonly exciting, and is sustained with great skill to the very
end. A fine poetic feeling pervades the narrative, and the descriptive
portions of the book often glow with picturesque splendor. The work is also
very attractive in the cleverness and the vividness with which the manners
and people of ancient Egypt are depicted, showing in this aspect careful
thought and study. The story may take a foremost rank in the long line of
German romances which have aimed at reproducing the life of antiquity.”—
Boston Saturday Evening Gazette, May 23, 1886.
THE CHALDEAN MAGICIAN.—An Adventure in Ancient Rome, by
Ernst Eckstein, from the German by Mary J. Safford. One vol. Paper,
25 cts. Cloth, 50 cts.
“The ‘Chaldean Magician’ is a tale of Rome in the days of the Emperor
Diocletian, and is an expose of the so-called magical art of that period. The
love story which runs through it will please the sentimental, while the
pictures given of Roman life and society will interest the general reader.”—
Chicago Evening Journal.
William S. Gottsberger, Publisher, New York.

QUINTUS CLAUDIUS.—A Romance of Imperial Rome, by Ernst

Eckstein, from the German by Clara Bell, in two vols. Paper, $1.00.
Cloth, $1.75.
 “We owe to Eckstein the brilliant romance of ‘Quintus Claudius,’ which
Clara Bell has done well to translate for us, for it is worthy of place beside
the Emperor of Ebers and the Aspasia of Hamerling. It is a story of Rome in
the reign of Domitian, and the most noted characters of the time figure in its
pages, which are a series of picturesque descriptions of Roman life and
manners in the imperial city, and in those luxurious retreats at Baiae and
elsewhere to which the wealthy Romans used to retreat from the heats of
summer. It is full of stirring scenes in the streets, in the palaces, in the
temples, and in the amphitheatre, and the actors therein represent every
phase of Roman character, from the treacherous and cowardly Domitian and
the vile Domitia down to the secret gatherings of the new sect and their exit
from life in the blood-soaked sands of the arena, where they were torn in
pieces by the beasts of the desert. The life and the manners of all classes at
this period were never painted with a bolder pencil than by Eckstein in this
masterly romance, which displays as much scholarship as invention.”—
Mail and Express, N. Y.
“These neat volumes contain a story first published in German. It is
written in that style which Ebers has cultivated so successfully. The place is
Rome; the time, that of Domitian at the end of the first century. The very
careful study of historical data, is evident from the notes at the foot of
nearly every page. The author attempted the difficult task of presenting in a
single story the whole life of Rome, the intrigues of that day which
compassed the overthrow of Domitian, and the deep fervor and terrible
trials of the Christians in the last of the general persecutions. The court, the
army, the amphitheatre, the catacombs, the evil and the good of Roman
manhood and womanhood—all are here. And the work is done with power
and success. It is a book for every Christian and for every student, a book of
lasting value, bringing more than one nation under obligation to its
author.”—New Jerusalem Magazine, Boston, Mass.
“A new Romance of Ancient Times! The success of Ernst Eckstein’s new
novel, ‘Quintus Claudius,’ which recently appeared in Vienna, may fairly be
called phenomenal, critics and the public unite in praising the work.”—
Grazer Morgenpost.
“‘Quintus Claudius’ is a finished work of art, capable of bearing any
analysis, a literary production teeming with instruction and interest, full of
plastic forms, and rich in the most dramatic changes of mood.”—Pester
Lloyd.
 William S. Gottsberger, Publisher, New York.

PRUSIAS.—A Romance of Ancient Rome under the Republic, by Ernst

Eckstein, from the German by Clara Bell. Authorized edition. In two
vols. Paper, $1.00. Cloth, $1.75.
“The date of ‘Prusias’ is the latter half of the first century B. C. Rome is
waging her tedious war with Mithridates. There are also risings in Spain,
and the home army is badly depleted. Prusias comes to Capua as a learned
Armenian, the tutor of a noble pupil in one of the aristocratic households.
Each member of this circle is distinct. Some of the most splendid traits of
human nature develop among these grand statesmen and their dignified
wives, mothers, and daughters. The ideal Roman maiden is Psyche; but she
has a trace of Greek blood and of the native gentleness. Of a more
interesting type is Fannia, who might, minus her slaves and stola, pass for a
modern and saucy New York beauty. Her wit, spirit, selfishness, and
impulsive magnanimity might easily have been a nineteenth-century
evolution. In the family to which Prusias comes are two sons, one of
military leanings, the other a student. Into the ear of the latter Prusias
whispers the real purpose of his coming to Italy. He is an Armenian and in
league with Mithridates for the reduction of Roman rule. The unity which
the Senate has tried to extend to the freshly-conquered provinces of Italy is
a thing of slow growth. Prusias by his strategy and helped by Mithridates’s
gold, hopes to organize slaves and disaffected provincials into a force which
will oblige weakened Rome to make terms, one of which shall be complete
emancipation and equality of every man before the law. His harangues are
in lofty strain, and, save that he never takes the coarse, belligerent tone of
our contemporaries, these speeches might have been made by one of our
own Abolitionists. The one point that Prusias never forgets is personal
dignity and a regal consideration for his friends. But after all, this son of the
gods is befooled by a woman, a sinuous and transcendently ambitious
Roman belle, the second wife of the dull and trustful prefect of Capua; for
this tiny woman had all men in her net whom she found it useful to have
there.
 “The daughter of the prefect—hard, homely-featured, and hating the
supple stepmother with an unspeakable hate, tearing her beauty at last like a
tigress and so causing her death—is a repulsive but very strong figure. The
two brothers who range themselves on opposite sides in the servile war
make another unforgettable picture; and the beautiful slave Brenna, who
follows her noble lover into camp, is a spark of light against the lurid
background. The servile movement is combined with the bold plans of the
Thracian Spartacus. He is a good figure and perpetually surprises us with
his keen foresight and disciplinary power.
“The book is stirring, realistic in the even German way, and full of the
fibre and breath of its century.” Boston Ev’g Transcript.

THE WILL.—A novel, by Ernst Eckstein, from the German by Clara

Bell, in two vols. Paper, $1.00 Cloth, $1.75 per set.
“Since the appearance of ‘Debit and Credit’ we have not seen a German
novel that can rank, in the line struck out by that famous work, with ‘The
Will,’ by Ernst Eckstein. It is a vivid picture of German city life, and the
characters, whether quaint, commonplace, tragical, or a mixture of all three,
are admirably drawn. All the German carefulness is in Eckstein’s work, but
there is besides a sparkle and verve entirely French—and French of the best
kind.”—Catholic Mirror, Baltimore.
“The chief value of the book is in its well-drawn and strong pictures of
life in both German cities and villages, and Clara Bell, has, as usual, proved
herself a mistress of the German Tongue.”—Sunday Star, Providence.
“Ernst Eckstein, hitherto known as a writer of classical romance, now
tries his hand upon a genre story of German life. To our mind, it is his most
successful work.”—Bulletin, San Francisco, Cal.
“The present work is entitled ‘The Will,’ and is written by Ernst
Eckstein, the author of the striking historical novel, Quintus Claudius. The
name of Clara Bell as the translator from the German is assurance enough
of the excellence of its rendering into English. The plot of the story is not a
novel one, but it is skillfully executed, and the whole tale is developed with
much dramatic power.”—Boston Zion’s Herald.
 “‘The Will,’ by Eckstein, is the latest and best work of its author. The
scene, the people, the events of the story are new, the plot is ingenious, and
the action rapid and exciting enough to please the most jaded novel reader.
The character of schoolmaster Heinzius would alone make the reputation of
a new writer, and there are other sketches from life none the less masterly.
Ernst Eckstein excels in heroines, of whom there are several in the book—
all clearly defined—contending for the sympathy of the reader.”—The
Journal of Commerce, New York.
William S. Gottsberger, Publisher, New York.

THE ELEVENTH COMMANDMENT.—A Romance by Anton

Giulio Barrili, from the Italian by Clara Bell, in one vol. Paper, 50 cts.
Cloth, 90 cts.

“If Italian literature includes any more such unique and charming stories
as this one, it is to be hoped that translators will not fail to discover them to
the American public. The ‘Eleventh Commandment’ deals with a variety of
topics—the social intrigues necessary to bring about preferment in political
life, a communal order, an adventurous unconventional heiress, and her
acquiescent, good-natured uncle, and most cleverly are the various elements
combined, the whole forming an excellent and diverting little story. The
advent of a modern Eve in the masculine paradise (?) established at the
Convent of San Bruno is fraught with weighty consequences, not only to
the individual members of the brotherhood, but to the well-being of the
community itself. The narrative of M’lle Adela’s adventures is blithely told,
and the moral deducible therefrom for men is that, on occasion, flight is the
surest method of combating temptation.”—Art Interchange, New York.
“Very entertaining is the story of ‘The Eleventh Commandment,’
ingeniously conceived and very cleverly executed.”—The Critic, New York.
 A WHIMSICAL WOOING.—By Anton Giulio Barrili, from the
Italian by Clara Bell, in one vol. Paper, 25 cts. Cloth, 50 cts.
“If ‘The Eleventh Commandment,’ the previous work of Barrili, was a
good three-act play, ‘A Whimsical Wooing’ is a sparkling comedietta. It is
one situation, a single catastrophe, yet, like a bit of impressionist painting of
the finer sort, it reveals in a flash all the possibilities of the scene. The hero,
Roberto Fenoglio, a man of wealth, position, and accomplishments, finds
himself at the end of his resources for entertainment or interest. Hopelessly
bored, he abandons himself to the drift of chance, and finds himself, in no
longer space of time than from midnight to daylight—where and how, the
reader will thank us for not forestalling his pleasure in finding out for
himself.”—The Nation, New York.
“‘A Whimsical Wooing’ is the richly-expressive title under which ‘Clara
Bell’ introduces a cleverly-narrated episode by Anton Giulio Barrili to
American readers. It is a sketch of Italian life, at once rich and strong, but
nevertheless discreet in sentiment and graceful in diction. It is the old story
of the fallacy of trusting to a proxy in love matters.”—Boston Post.
William S. Gottsberger, Publisher, New York.

ERNESTINE.—A Novel, by Wilhelmine von Hillern, from the

German by S. Baring-Gould, in two vols. Paper, 80 cts. Cloth, $1.50.

“‘Ernestine’ is a work of positive genius. An English critic has likened

the conception of the heroine in her childhood to George Eliot’s Maggie
Tulliver, and truly there is a certain resemblance; but there is in the piece a
much stronger suggestion of George Eliot’s calm mastery of the secret
springs of human action, and George Eliot’s gift of laying bare the life of a
human soul, than of likeness between particular characters or situations here
and those with which we are familiar in George Eliot’s works.”—New York
Evening Post.
 THE HOUR WILL COME.—A Tale of an Alpine Cloister, by
Wilhelmine von Hillern, from the German by Clara Bell, in one vol.
Paper, 40 cts. Cloth, 75 cts.
“‘The Hour Will Come’ is the title of a translation by Clara Bell from the
German original of Wilhelmine von Hillern, author of that beautiful
romance ‘Geier-Wally.’ ‘The Hour Will Come’ is hardly less interesting, its
plot being one of the strongest and most pathetic that could well be
imagined. The time is the Middle Ages, and Frau von Hillern has achieved a
remarkable success in reproducing the rudeness, the picturesqueness and
the sombre coloring of those days. Those who take up ‘The Hour Will
Come’ will not care to lay it down again until they have read it through.”—
Baltimore Gazette.

HIGHER THAN THE CHURCH.—An Art Legend of Ancient Times,

by Wilhelmine von Hillern, from the German by Mary J. Safford, in
one vol. Paper, 25 cts. Cloth, 50 cts.

“Mary J. Safford translates acceptably a very charming short story from

the German of Wilhelmine von Hillern. If it was not told by the sacristan of
Breisach, it deserves to have been. It has the full flavor of old German and
English love tales, such as have been crystallized in the old ballads. The
Emperor, the gifted boy, his struggles with the stupidity of his townsmen,
his apparently hopeless love above him; these form the old delightful scene,
set in a Düreresque border. There are touches here and there which refer to
the present. The sixteenth century tale has a political moral that will appeal
to Germans who believe that Alsatia, once German in heart as well as in
tongue, ought to be held by force to the Fatherland till she forgets her
beloved France.”—N. Y. Times.
William S. Gottsberger, Publisher, New York.
 ASPASIA.-A Romance, by Robert Hamerling, from the German by
Mary J. Safford, in two vols. Paper, $1.00. Cloth, $1.75.
“We have read his work conscientiously, and, we confess, with profit.
Never have we had so clear an insight into the manners, thoughts, and
feelings of the ancient Greeks. No study has made us so familiar with the
age of Pericles. We recognize throughout that the author is master of the
period of which he treats. Moreover, looking back upon the work from the
end to the beginning, we clearly perceive in it a complete unity of purpose
not at all evident during the reading.”
“Hamerling’s Aspasia, herself the most beautiful woman in all Hellas, is
the apostle of beauty and of joyousness, the implacable enemy of all that is
stern and harsh in life. Unfortunately, morality is stern, and had no place
among Aspasia’s doctrines. This ugly fact, Landor has thrust as far into the
background as possible. Hamerling obtrudes it. He does not moralize, he
neither condemns nor praises; but like a fate, silent, passionless, and
resistless, he carries the story along, allows the sunshine for a time to silver
the turbid stream, the butterflies and gnats to flutter above it in rainbow
tints, and then remorselessly draws over the landscape gray twilight. He but
follows the course of history; yet the absolute pitilessness with which he
does it is almost terrible.”—Extracts from Review in Yale Literary
Magazine.
“No more beautiful chapter can be found in any book of this age than
that in which Pericles and Aspasia are described as visiting the poet
Sophocles in the garden on the bank of the Cephissus.”—Utica Morning
Herald.
“It is one of the great excellencies of this romance, this lofty song of the
genius of the Greeks, that it is composed with perfect artistic symmetry in
the treatment of the different parts, and from the first word to the last is
thoroughly harmonious in tone and coloring. Therefore, in ‘Aspasia,’ we are
given a book, which could only proceed from the union of an artistic nature
and a thoughtful mind—a book that does not depict fiery passions in
dramatic conflict, but with dignified composure, leads the conflict therein
described to the final catastrophe.”—Allgemeine Zeitung. (Augsburg).
William S. Gottsberger, Publisher, New York.
 ELIZABETH; or the Exiles of Siberia.—From the French of Mme.
Sophie Cottin, one vol. Paper, 25 cents. Cloth, 50 cents.
“A new edition of the English translation of that famous old story
‘Elizabeth; or the Exiles of Siberia,’ which used to be the standard French
reader in private schools, where many a tender-hearted school-girl cried not
only over the hard task of rendering the difficult French phrases into her
own tongue, but also over the misfortunes of this generous-souled heroine.
There are few French tales so full of deep pure feeling as this, by Mme.
Sophie Cottin (born 1773, died 1807), and although it seems almost too
well known to create a fresh sensation, it will always be one of the few
books that mothers can safely place into the hands of their young daughters,
knowing at the time that the perusal of them will not only amuse but waken
tender and generous feelings in the young heart, that perhaps needed a story
like this to make them spring into life.”—Albany Times.

ELIANE.—A Novel, by Mme. Augustus Craven, from the French by

Lady Georgiana Fullerton, in one vol. Paper, 50 cents. Cloth, 90 cents.
“It is not only pure, but is, we believe, a trustworthy description of the
dignified French life of which it is a picture. ‘Eliane’ is one of the very best
novels we have read for one or two seasons past”—The American Literary
Churchman, Baltimore.
“‘Eliane’ is interesting not only because it is such a record of the best
kind of French life and manners as could only have been written by a
person thoroughly at home in the subject, but also because of the delicate
drawing of character which it contains.”—London Sat. Review.

RANTHORPE.—A Novel, by George Henry Lewes, in one vol. Paper,

40 cents. Cloth, 75 cents.
 “There is a good deal of wisdom in it that is not without its use.”—
Popular Science Monthly.
“‘Ranthorpe’ is a reprint of a novel written in 1842, by George Henry
Lewes, the well-known husband of George Eliot. It belongs to the
psychological class, and is keenly introspective throughout. The style is
well adapted to the work, displaying the versatility of a mind whose natural
bent was towards metaphysics and the exact sciences.”—Montreal Star.
William S. Gottsberger, Publisher, New York.

GEORG EBERS’
ROMANCES & BIOGRAPHIES
COMPRISING:
AN EGYPTIAN PRINCESS,
TWO VOLUMES
THE BRIDE OF THE NILE,
TWO VOLUMES

THE BURGOMASTER’S WIFE,

ONE VOLUME

SERAPIS,
ONE VOLUME

THE EMPEROR,
TWO VOLUMES

UARDA,
TWO VOLUMES

HOMO SUM,
ONE VOLUME

THE SISTERS,
ONE VOLUME
 A QUESTION,
ONE VOLUME

A WORD, ONLY A WORD,

ONE VOLUME

LORENZ ALMA-TADEMA,
ONE VOLUME

RICHARD LEPSIUS,
ONE VOLUME

Romances, 14 volumes, cloth, in case, $11 00

” and Biographies, 16 volumes, cloth, in case, 13.00
” ” ” ” half calf extra, in case, 32.00

FOOTNOTES:
[A] Peasants attached to the household, and not to the soil.
[B] Russian cart, consisting of a flat frame-work of bark, between four wheels.
[C] This expression, peculiar to Russia, corresponds to what in Catholic countries
is called: Making a preparatory retreat.
[D] In the Greek Church the staroste acts as church-warden, collector of alms, etc.
[E] Screen, upon which are the images.
[F] Strong Russian phrase, to express great poverty.
[G] Justice of the peace, of the district.
[H] Diminutive of Nicolas.
[I] Yvan.

Typographical errors corrected by the etext transcriber:

tête-à-tête=> tête-à-tete {pg 104}
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