This is a fascinating book and its fascination consists in two things attaching to its subject: first that the famous collection of modelled portraits which has become a sort of national institution in England under the name of “Madame Tussaud’s” has its roots in the greatest period of modern history, the French Revolution; second, in that the complete and growing record has passed through so many changes and has yet survived. Even though the famous collection had dealt with nothing more than the main figures of the Revolution and of the great wars that followed it, it would have been a possession of permanent and lasting historical value. I am not sure that if it had so remained, stopped short at the effigies of those now long dead, it would not now receive a greater respect. It might well in that case have become something recognised as a national possession, protected and preserved by the national government. For the prolongation of the record right on into our own time, while it very greatly increases the real value of the collection as a piece of historical evidence, yet deprives it of that illusion which men cannot avoid where history is concerned: the illusion that things thoroughly passed are in some way greater and of more consequence than contemporary things. This continuity of the great collection—so long as it is maintained with judgment in selection and without too much yielding to momentary fame is none the less a thing to be very thankful for. Already those of us who, like the present writer, are well on into middle age, can judge how the younger generation is beginning to regard as historical these simulacra, which, when they were first modelled, seemed in our own youth insignificant because they were contemporary. To our children (who are now grown and are young men and women), Disraeli, Gladstone, Bismarck—all the group that were old but living men in the eighties (Disraeli died at the beginning of them, Bismarck long after their close)—are what to us were Louis-Philippe, Garibaldi, Palmerston, and the process properly continued will be invaluable. We have already more than 130 years of record. There is no reason why it should not extend to the two centuries.

Mad "Her biography may be said to comprise a tale of two cities" The waxwork museum to which Madame Tussaud gave her name remains a popular London attraction. However, the life that brought Marie Tussaud to London was one of terror, revolution and execution. Learning her trade from a physician who excelled at wax modelling, Marie began her career innocently creating waxes of contemporary celebrities, such as Voltaire, Jean-Jacques Rousseau and Benjamin Franklin. In the 1780's she was employed to teach the sister of Louis XVI votive making. The French Revolution would shatter this life. Arrested as a Royalist sympathiser, Marie was sentenced to die. Her head was shaved in preparation for the guillotine. It was only her connection to the physician who trained her that saved Marie that day. Her skill with wax was utilised and Marie found herself making wax models of the executed, including the King, Marie Antoinette and later, Robespierre... The Romance of Madame Tussaud is an amazing history of an extraordinary time. Written by her great grandson, The Romance of Madame Tussaud is a captivating and insightful look into the life of Marie Tussaud herself and her fascinating museum. John Theodore Tussaud (1858 - 1943) was the great grandson of Marie Tussaud. Although his father had sold ownership of Madame Tussauds, John worked in the museum as manager and chief artist for many years. In 1935 John was elected as a fellow of the Royal Society of Arts. In addition to The Romance of Madame Tussaud, John wrote The Chosen Four about Napoleon's loyal supporters who followed him into exile at St. Helena.

In 1789, with the starving French people on the brink of revolution, orphaned Celie Rosseau, an amazing artist and a very clever thief, runs wild with her protector, Algernon, trying to join the idealistic freedom fighters of Paris. But when she is caught stealing from none other than the king's brother and the lady from the waxworks, Celie must use her drawing talent to buy her own freedom or die for her crimes. Forced to work for Madame Tussaud inside the opulent walls that surround Louis XVI and Marie Antoinette, Celie is shocked to find that the very people she imagined to be monsters actually treat her with kindness. But the thunder of revolution still rolls outside the gates, and Celie is torn between the cause of the poor and the safety of the rich. When the moment of truth arrives, will she turn on Madame Tussaud or betray the boy she loves? From the hidden garrets of the starving poor to the jeweled halls of Versailles, Madame Tussaud's Apprentice is a sweeping story of danger, intrigue, and young love, set against one of the most dramatic moments in history.

Tussaud's catered for the public's fascination with monarchy, whether Henry VIII and his wives or Queen Victoria, as well as for their love of history, acting as an accessible and enjoyable museum. This work looks at Madame Tussaud herself and her exhibition as part of the wider history of wax modelling and of popular entertainment.