James Fenimore Cooper 
The Headsman (Illustrated) 
The Abbaye des Vignerons.

This opportunity to make a political confession of faith reflected the political turn he already had taken in his fiction, having attacked European anti-republicanism in The Bravo (1831). Cooper continued this political course in The Heidenmauer (1832) and The Headsman: or the Abbaye of Vigneron (1833). The Bravo depicted Venice as a place where a ruthless oligarchy lurks behind the mask of the ’serene republic‘. All were widely read on both sides of the Atlantic, though The Bravo was a critical failure in the United States.