At a fascinating moment in French intellectual history, an interest in matters occult was not equivalent to a rejection of scientific thought; participants in seances and magic rituals were seekers after experimental data as well as spiritual truth. A young astronomy student wrote of his quest: "I am not in the presence or under the influence of any evil spirit: I study Spiritism as I study mathematics." He did not see himself as an ecstatic visionary but rather as a sober observer. For him, the darkened room of occult practice was as much laboratory as church.

In an evocative history of alternative religious practices in France in the second half of the nineteenth and beginning of the twentieth centuries, John Warne Monroe tells the interconnected stories of three movements Mesmerism, Spiritism, and Occultism. Adherents of these groups, Monroe reveals, attempted to "modernize" faith by providing empirical support for metaphysical concepts. Instead of trusting theological speculation about the nature of the soul, these believers attempted to gather tangible evidence through Mesmeric experiments, seances, and ceremonial magic. While few French people were active Mesmerists, Spiritists, or Occultists, large segments of the educated general public were familiar with these movements and often regarded them as fascinating expressions of the "modern condition," a notable contrast to the Catholicism and secular materialism that prevailed in their culture.

Featuring eerie spirit photographs, amusing Daumier lithographs, and a posthumous autograph from Voltaire, as well as extensive documentary evidence, Laboratories of Faith gives readers a sense of what being in a seance or a secret-society ritual might actually have felt like and why these feelings attracted participants. While they never achieved the transformation of human consciousness for which they strove, these thinkers and believers nevertheless pioneered a way of "being religious" that has become an enduring part of the Western cultural vocabulary."

From the 1880s to 1940, French colonial officials, businessmen and soldiers, returning from overseas postings, brought home wooden masks and figures from Africa. This imperial and cultural power-play is the jumping-off point for a story that travels from sub-Saharan Africa to Parisian art galleries; from the pages of fashion magazines, through the doors of the Louvre, to world fairs and international auction rooms; into the apartments of avant-garde critics and poets; to the streets of Harlem, and then full-circle back to colonial museums and schools in Dakar, Bamako, and Abidjan. John Warne Monroe guides us on this journey, one that goes far beyond the world of Picasso, Matisse, and Braque, to show how the Modernist avant-garde and the European colonial project influenced each other in profound and unexpected ways. Metropolitan Fetish reveals the complex trajectory of African material culture in the West and provides a map of that passage, tracing the interaction of cultural and imperial power. A broad and far-reaching history of the French reception of African art, it brings to life an era in which the aesthetic category of "primitive art" was invented.