The House of Rothschild by Ferguson Niall

Author:Ferguson, Niall
Language: eng
Format: epub, mobi
Publisher: PENGUIN group

Though primarily conpiracy theorists, writers like Drumont and Chirac were also preoccupied with the Rothschilds’ penetration of French high culture and society. In the second volume of Jewish France, Drumont devotes a long passage to the château and gardens at Ferrières. The art and furnishings, he concedes, are magnificent; what is lamentable is that so many jewels of French heritage should belong to Jews who can only jumble them together like so much “bric-à-brac.” Nor is it only French culture which the Rothschilds can buy. “This château without a past,” he comments, “does not recall the grand seigneurial lifestyle of the past”; yet the visitors’ book now contains “the most illustrious names of the French nobility.” A prince de Joinville—“a man in whose veins flow drops of the blood of Louis XIV”—abases himself before a mere “money-lender.” At Rothschild marriages, the list of noble names is complete: “[A]ll the [ancient] arms of France... gathered to worship the golden calf and to proclaim before the eyes of Europe that wealth is the sole royalty which now exists.” It is the same story at the costume ball given by the princesse de Sagan in 1885: “this miserable aristocracy” shamelessly rubs shoulders with Mme Lambert-Rothschild, Mme Ephrussi and the rest of “Jewry.” At heart a romantic Legitimist, Drumont regarded the Bourbon and Orléanist nobility as traitors to their Gallic race. It was a theme he returned to in his Testament, noting with dismay Charlotte’s purchase of “an abbey founded by Simon de Montfort” (Vaux-de-Cernay), Edouard’s election to the exclusive Cercle de la rue Royale and the presence of the usual grand names at a Rothschild garden party. Chirac too commented sourly on the relationship between the Rothschilds and the elite of the Faubourg Saint-Germain, which had once disdained James and Betty but now accepted their children as social equals.

8.ii: Lepneveu, Nathan Mayer ou l‘origine des milliards, cover of Musée des Horreurs, no. 42 (c. 1900).

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