The sixth “Late Dauphin” was a Polish Jew called Naundorf — an impudent impostor not even seeming suitably prepared by time for the part which he had thus voluntarily undertaken, having been born in 1775, and thus having been as old at the birth of the Dauphin as the latter was when he died. This individual had appeared in Berlin in 1810, and was married in Spandau eight years later. He had been punished for incendiarism in 1824, and later got three years’ imprisonment at Brandenburg for coining. He may be considered as a fairly good all-round — if unsuccessful — criminal. In England he was imprisoned for debt. He died in Delft in 1845.
The last attempt at impersonating Louis XVII, the seventh, afforded what might in theatrical parlance be called the “comic relief” of the whole series, both as regards means and results. This time the claimant to the Kingship of France was none other than a half-bred Iroquois, one called Eleazar, who appeared to be the ninth son of Thomas Williams, otherwise Thorakwaneken, and an Indian woman, Mary Ann Konwatewentala. This lady, who spoke only Iroquois, said at the opportune time she was not the mother of Lazar (Iroquois for Eleazar). She made her mark as she could not write.
Eleazar had been almost an idiot till the age of thirteen; but, being struck on the head by a stone, recovered his memory and intelligence. He said he remembered sitting on the knees of a beautiful lady who wore a rich dress with a train. He also remembered seeing in his childhood a terrible person; shewn the picture of Simon he recognised him with terror. He learned English but imperfectly, became a Protestant and a missionary and married. His profile was something like that of the typical Bourbon. In 1841, the Prince de Joinville, seeing him on his travels in the United States, told him (according to Eleazar’s account) that he was the son of a king, and got him to sign and seal a parchment, already prepared, the same being a solemn abdication of the Crown of France in favour of Louis Philippe, made by Charles Louis, son of Louis XVI, also styled Louis XVII King of France and Navarre. The seal used was the seal of France, the one used by the old Monarchy. The “poor Indian with untutored mind” made with charming diffidence the saving clause regarding the seal, — “if I am not mistaken.” Of course there was in the abdication a clause regarding the payment of a sum of money “which would enable me to live in great luxury in this country or in France as I might choose.” The Reverend Eleazar, despite his natural disadvantages and difficulties, was more fortunate than his fellow claimants inasmuch as the time of his imposture was more propitious. Louis Philippe, who was always anxious to lessen the danger to his tottering throne, made a settlement on him from his Civil List, and the ”subsequent proceedings interested him no more.”
Altogether the Louis XVII impostures extended over a period of some sixty years, beginning with Hervagault’s pretence soon after the death of the Dauphin, and closing at Gleyze with the death of Henri Herbert, the alleged Baron de Richmont who appeared as the alleged Due de Normandie.
E. Princess Olive
THE story of Mrs. Olive Serres, as nature made it, was one thing; it was quite another as she made it for herself. The result, before the story was completely told, was a third; and, compared with the other, one of transcendent importance. Altogether her efforts, whatsoever they were and crowned never so effectively, showed a triumph in its way of the thaumaturgic art of lying; but like all structures built on sand it collapsed eventually. In the plain version — nature’s — the facts were simply as follows. She, and a brother of no importance, were the children of a house painter living in Warwick, one Robert Wilmot, and of Anna Maria his wife. Having been born in 1772 she was under age when in 1791 she was married, the ceremony therefore requiring licence supported by bond and affidavit. Her husband was John Thomas Serres who ten years later was appointed marine painter to King George III. Mr. and Mrs. Serres were separated in 1804 after the birth of two daughters, the elder of whom, born in 1797, became in 1822 the wife of Antony Thomas Ryves a portrait painter — whom she divorced in 1847. Mrs. A. T. Ryves twelve years later filed a petition praying that the marriage of her mother, made in 1791, might be declared valid and she herself the legitimate issue of that marriage. The case was heard in 1861, Mrs. Ryves conducting it in person. Having produced sufficient evidence of the marriage and the birth, and there being no opposition, the Court almost as a matter of course pronounced the decree asked for. In this case no complications in the way of birth or marriage of Mrs. Serres were touched on.
Robert Wilmot, the house-painter, had an elder brother James who became a Fellow of Trinity College, Oxford, and went into the Church, taking his degree of Doctor of Divinity. Through his College he was presented in 1781 to the living of Barton-on-the-heath, Warwickshire. The Statutes of his College contained a prohibition against marriage whilst a Fellow. James Wilmot D. D. died in 1807 leaving his property between the two children of Robert, after life-use by his brother. James and Robert Wilmot had a sister Olive, who was born in 1728 and married in 1754 to William Payne with issue one daughter, Olivia, born in 1759. Robert Wilmot died in 1812.
Out of these rough materials Mrs. Olive Serres set herself in due course to construct and carry out, as time and opportunity allowed, and as occasions presented themselves and developed, a fraudulent romance in real life and action. She was, however, a very clever woman and in certain ways — as was afterwards proved by her literary and artistic work — well dowered by nature for the task — crooked though it was — which she set for herself. Her ability was shown not only by what she could do and did at this time of her life, but by the manner in which she developed her natural gifts as time went on. In the sum of her working life, in which the perspective of days becomes merged in that of years, she touched on many subjects, not always of an ordinary kind, which shewed often that she was of conspicuous ability, having become accomplished in several branches of art. She was a painter of sufficient merit to have exhibited her work in the Royal Academy in 1794 and to be appointed landscape-painter to the Prince of Wales in 1806. She was a novelist, a press writer, an occasional poet and in many ways of a ready pen. She was skilled in some forms of occultism, and could cast horoscopes; she wrote, in addition to a pamphlet on the same subject, a book on the writings of Junius, claiming to have discovered the identity of the author — none other than James Wilmot D. D. She wrote learnedly on disguised handwriting. In fact she touched on the many phases of literary effort which come within the scope of those who live by the work of their brains. Perhaps, indeed, it was her facility as a writer that helped to lead her astray; for in her practical draughtsmanship and in her brain teeming with romantic ideas she found a means of availing herself of opportunities suggested by her reckless ambition. Doubtless the cramped and unpoetic life of her humble condition in the house-painter’s home in Warwick made her fret and chafe under its natural restraint. But when she saw her way to an effective scheme of enlarging her self-importance she acted with extraordinary daring and resource. As is usual with such natures, when moral restraints have been abandoned, the pendulum swung to its opposite. As she had been lowly she determined to be proud; and having fixed on her objective began to elaborate a consistent scheme, utilising the facts of her own surroundings as the foundation of her imposture. She probably realised early that there must be a base somewhere, and so proceeded to manufacture or arrange for herself a new identity into which the demonstrable facts of her actual life could be wrought. At the same time she manifestly realised that in a similar way fact and intention must be interwoven throughout the whole of her contemplated creation. Accordingly she created for herself a new milieu which she supported by forged documents of so clever a conceit and such excellent workmanship, that they misled all who investigated them, until they came within the purview of the great lawyers of the day whose knowledge,