Kitabı oku: «Old Court Life in France, vol. 1»

TO MY NIECE

THE COUNTESS OF MINTO

THIS WORK IS

INSCRIBED

PREFACE TO THE FIFTH EDITION

I CANNOT express the satisfaction I feel at finding myself once more addressing the great American public, which from the first has received my works with such flattering favour.

I have taken special pleasure in the production of this new edition of Old Court Life in France, which was first published in America some twenty years ago, and which is, I trust, now entering into a new lease of life.

That the same cordial welcome may follow the present edition, which was accorded to the first, is my anxious hope.

A new generation has appeared, which may, I trust, find itself interested in the stirring scenes I have delineated with so much care, that they might be strictly historical, as well as locally correct.

To write this book was, for me (with my knowledge of French history) a labour of love. It takes me back to the happiest period of my life, passed on the banks of the historic Loire: to Blois, Amboise, Chambord, and, a little further off, to the lovely plaisances of Chenonceaux and Azay le Rideau, the woods of magnificent Versailles, and Saint Cloud (now a desolation), on to the walls of the palatial Louvre, the house-tree of the great Kings and Queens of France – never can all these annals be fitly told! Never can they be exhausted!

To be the guide to these romantic events for the American public is indeed an honour. To lead where they will follow, with, I trust, something of my own enthusiasm, is worth all the careful labour the work has cost me.

With these words I take my leave of the unknown friends across the sea, who have so kindly appreciated me for many years. Although I have never visited America, this sympathy bridges space, and draws me to them with inexpressible cordiality and confidence, in which sentiment I shall ever remain, leaving my work to speak to them for me.

Frances Elliot.

June, 1893.

PREFACE TO THE THIRD EDITION – IN REPLY TO CERTAIN CRITICS

TO relate the “Court life” of France – from Francis I. to Louis XIV. – it is necessary to relate, also, the history of the royal favourites. They ruled both court and state, if they did not preside at the council. The caprice of these ladies was, actually, “the Pivot on which French history turned.”

Louis XIII. was an exception. Under him Cardinal Richelieu reigned. Richelieu’s “zeal” for France led him unfortunately to butcher all his political and personal opponents. He ruled France, axe in hand. It was an easy way to absolute power.

Cardinal Mazarin found France in a state of anarchy. The throne was threatened with far more serious dangers than under Richelieu. To feudal chiefs were joined royal princes. The great Condé led the Spanish troops against his countrymen. Yet no political murder stains the name of the gentle Italian. He triumphed by statescraft, – and married the Infanta to Louis XIV.

Cardinal de Retz possessed much of the genius of Richelieu. No cruelty, however, attaches to his memory. But De Retz was on the wrong side, the side of rebellion. He was false to his king and to France. Great as were his gifts, he fell before the persevering loyalty of Mazarin.[Pg ]

The personal morality of either of these statesmen ill bears investigation. Marion de l’Orme was the mistress and the spy of Richelieu; Mazarin – it is to be hoped – was privately married to the Queen Regent Anne of Austria. Cardinal de Retz had, as a contemporary remarks, “a bevy of mistresses.”

We have the authority of Charlotte de Bavière, second wife of Phillippe Duc d’Orléans, brother of Louis XIV., in her Autobiographical Fragments, “that her predecessor, Henrietta of England, was poisoned.” No legal investigation was ever made as to the cause of her sudden death. There is no proof “that Louis XIV. disbelieved she was poisoned.”

The number of the victims of the St. Bartholomew-massacre is stated by Sully to have been 70,000. (Memoirs, book I., page 37.) Sully and other authorities state “that Charles IX., at his death, manifested by his transports and his tears the sorrow he felt for what he had done.” Further, “that when dying he sent for Henry of Navarre, in whom alone he found faith and honour.” (Sully, book I., page 42.)

That Sorbin, confessor to Charles IX., should have denied this is perfectly natural. Henry of Navarre would stink in the confessor’s nostrils as a pestilent heretic. As to the credibility of Sorbin (a bigot and a controversialist), I would refer to the Mémoires de l’état de France sous Charles IX., vol. 3, page 267.

According to the Confession de Saucy, Sorbin de St. Foy “was made a Bishop for having placed Charles IX. among the Martyrs.”

Frances (Minto) Elliot.

August, 1873.

PREFACE

ALL my life I have been a student of French memoir-history. In this species of literature France is remarkably rich. There exist contemporary memoirs and chronicles, from a very early period down to the present time, in which are preserved not only admirable outlooks over general events, but details of language, character, dress, and manners, not to be found elsewhere. I was bold enough to fancy that somewhat yet remained to tell; – say – of the caprices and eccentricities of Louis XIII., of the homeliness of Henri Quatre, of the feminine tenderness of Gabrielle d’Estrées, of the lofty piety and unquestioning confidence of Louise de Lafayette, of the romantic vicissitudes of Mademoiselle de Montpensier; and that some pictures might be made of these old French personages for English readers in a way that should pourtray the substance and spirit of history, without affecting to maintain its form and dress.

In all I have written I have sought carefully to work into my dialogue each word and sentence recorded of the individual, every available trait or peculiarity of character to be found in contemporary memoirs, every tradition that has come down to us.

To be true to life has been my object. Keeping close to the background of history, I have endeavoured to group the figures of my foreground as they grouped themselves in actual life. I have framed them in the frames in which they really lived.

Frances Elliot.

Farley Hill Court,

Christmas, 1872.

AUTHORITIES

Mémoires de Brantôme.

Mémoires de son Temps, Du Bellay.

Histoire de Henri Duc de Bouillon.

Mémoires de Condé.

Dictionnaire de Bayle, “Duc de Guise.”

Histoire des Guerres Civiles de la France, par Davila.

Mémoires pour servir à l’Histoire de France, par Champollion.

Mémoires de Coligni.

Novaes, Storia dei Pontefici.

Mémoires de Marguerite de Valois.

Journal de Henri III.

Mémoires de Sully.

Histoire de Henri IV., par Mathieu.

Histoire des Amours de Henri IV.

L’Intrigue du Cabinet sous Henri IV. et Louis XIII.

Mémoires pour l’Histoire du Cardinal de Richelieu.

Mémoires du Cardinal de Richelieu.

Histoire de la Mère et du Fils, par Mezeray.

Mémoires du Maréchal de Bassompierre.

Observations de Bassompierre.

Mémoires de feu Monsieur (Gaston) Duc d’Orléans.

Mémoires de Cinq-Mars.

Mémoires de Montrésor.

La Cour de Marie de’ Medici, par un Cadet de Gascogne.

Lettres de Madame de Sévigné.

Mémoires de Mademoiselle de Montpensier.

Mémoires du Duc de Lauzun.

Mémoires de Madame de Motteville.

Mémoires de M. d’Artagnan.

Mémoires du Cardinal de Retz.

Mémoires de La Porte.

Mémoires de Mazarin.

Œuvres Complètes de Saint-Simon.

Mémoires de la Duchesse de la Vallière.

Mémoires de la Marquise de Montespan.

Mémoires de la Marquise de Maintenon.

Amours des Rois de France.

Dulaure, Histoire de Paris.

Histoire de la Touraine, dans la Bibliothèque Publique à Tours.

Capefigue, Ouvrages Divers.

CHAPTER I.
FRANCIS I

WE are in the sixteenth century. Europe is young in artistic life. The minds of men are moved by the discussions, councils, protests, and contentions of the Reformation. The printing press is spreading knowledge into every corner of the globe.

At this period, three highly educated and unscrupulous young men divide the power of Europe. They are Henry VIII. of England, Charles V. of Austria, and Francis I. of France. Each is magnificent in taste; each is desirous of power and conquest. Each acts as a spur to the others both in peace and in war. They introduce the cultivated tastes, the refined habits, the freedom of thought of modern life, and from the period in which they flourish modern history dates.

Of these three monarchs Francis is the boldest, cleverest, and most profligate. The elegance, refinement, and luxury of his court are unrivalled; and this luxury strikes the senses from its contrast with the frugal habits of the ascetic Louis XI. and the homely Louis XII.

His reign educated Europe. If ambition led him towards Italy, it was as much to capture the arts of that classic land and to bear them back in triumph to France, as to acquire the actual territory. Francis introduced the French Renaissance, that subtle union of elaborate ornamentation with purity of design which was the renovation of art. When and how he acquired such exact appreciation of the beautiful is unexplained. That he possessed judgment and taste is proved by the monuments he left behind, and by his patronage of the greatest masters of their several arts.

The wealth of beauty and colour, the flowing lines of almost divine expression in the works of the Italian painters of the Cinque-cento, delighted the sensuous soul of Francis. Wherever he lived he gathered treasures of their art around him. Such a nature as his had no sympathy with the meritorious but precise elaboration of the contemporary Dutch school, led by the Van Eycks and Holbein. It was Leonardo da Vinci, the head of the Milanese school, who blended power and tenderness, that Francis delighted to honour. He brought Cellini, Primaticcio, and Leonardo from Italy, and never wearied of their company. He established the aged Leonardo at the Château de Clos, near his own castle of Amboise, where the painter is said to have died in the arms of his royal patron.

As an architect, Francis left his mark beyond any other sovereign of Europe. He transformed the gloomy fortress-home – embattled, turreted, and moated – into the elaborately decorated, manorial château. The bare and foot-trodden space without, enclosed with walls of defence, was changed into green lawns and overarching bowers breaking the vista toward the royal forest, the flowing river, and the open campagne.

Francis had a mania for building. Like Louis XIV., who in the century following built among the sandhills of Versailles, Francis insisted on creating a fairy palace amid the flat and dusty plains of Sologne. Here the Renaissance was to achieve its triumph. At Chambord, near Blois, were massed every device, decoration, and eccentricity of his favourite style. So identified is this place with its creator, that even his intriguing life peeps out in the double staircase under the central tower – representing a gigantic fleur-de-lys in stone – where those who ascend are invisible to those who descend; in the doors, concealed in sliding panels behind the arras; and in many double walls and secret stairs.

Azay le Rideau, built on a beautifully wooded island on the river Indre, though less known than Chambord, was and is an exquisite specimen of the Renaissance. It owes the fascination of its graceful outlines and peculiar ornamentation to the masterhand which has graven his crowned F and Salamander on its quaint façades. The Louvre and Fontainebleau are also signed by these monograms. He, and his son Henry II., made these piles the historic monuments we now behold.

Such was Francis, the artist. As a soldier, he followed in the steps of Bayard, “Sans peur et sans reproche.” He perfected that poetic code of honour which reconciles the wildest courage with generosity towards an enemy. A knight-errant in love of danger and adventure, Francis comes to us as the perfect type of the chivalrous Frenchman; ready to do battle on any provocation either as king or gentleman, either at the head of his army, in the tournament, or in the duello. He loved all that was gay, bright, and beautiful. He delighted in the repose of peace, yet no monarch ever plunged his country into more ruinous and causeless wars. Though capable of the tenderest and purest affection, no man was ever more heartless and cruel in principle and conduct.

Francis, Duc de Valois,¹ was educated at home by his mother, Madame Louise de Savoie, Duchesse d’Angoulême, Regent of France, together with his brilliant sister, Marguerite, “the pearl of the Valois,” poetess, story-teller, artist, and politician. Each of these royal ladies was tenderly attached to the clever, handsome youth, and together formed what they chose to call “a trinity of love.” The old Castle of Amboise, in Touraine, the favourite abode of Louis XII., continued to be their home after his death. Here, too, the hand of Francis is to be traced in sculptured windows and architectural façades, in noble halls and broad galleries, and in the stately terraced gardens overlooking the Loire which flows beneath its walls. Here, under the formal lime alleys and flowering groves, or in the shadow of the still fortified bastions, the brother and sister sat or wandered side by side, on many a summer day; read and talked of poetry and troubadours, of romance and chivalry, of Arthur, Roland, and Charlemagne, of spells and witcheries, and of Merlin the enchanter whose magic failed before a woman’s glance.

Printing at that time having become general, literature of all kinds circulated in every direction, stirring men’s minds with fresh tides of knowledge. Marguerite de Valois, who was called “the tenth Muse,” dwelt upon poetry and fiction, and already meditated her Boccaccio-like stories, afterwards to be published under the title of the Heptameron. Francis gloated over such adventures as were detailed in the roundelay of the “Four Sons of Aymon,” a ballad of that day, devoured the history of Amadis de Gaul, and tried his hand in twisting many a love-rhyme, after the fashion of the “Romaunt of the Rose.”

In such an idyllic life of love, of solitude, and of thought, full of the humanising courtesies of family life, was formed the paradoxical character of Francis, who above all men possessed what the French describe as “the reverse of his qualities.” His fierce passions still slumbered, his imagination was filled with poetry, his heart beat high with the endearing love of a brother and a son. His reckless courage vented itself in the chase, among the royal forests of Amboise and of Chanteloup, that darkened the adjacent hills, or in a tustle with the boorish citizens, or travelling merchants, in the town below.

Thus he grew into manhood, his stately yet condescending manners, handsome person, and romantic courage gaining him devoted adherents. Yet when we remember that Francis served as the type for Hugo’s play of Le Roi s’amuse we pause and – shudder.

CHAPTER II.
CHARLES DE BOURBON

THE Court is at Amboise. Francis is only twenty, and still solicits the advice of his mother, Louise de Savoie, regent during his minority. Marguerite, now married to the Duc d’Alençon, has also considerable influence over him. Both these princesses, who are with him at Amboise, insist on the claims of their kinsman, Charles de Montpensier, Duc de Bourbon, – in right of his wife, Suzanne, only daughter and heiress of Pierre, the last duke, – to be appointed Constable of France. It is an office next in power to the sovereign, and has not been revived since the treasonable conspiracy of the Comte de St. Pol, in the reign of Louis XI.

Bourbon is only twenty-six, but he is already a hero. He has braved death again and again in the battle-field with dauntless valour. In person he is tall and handsome. In manners, he is frank, bold, and prepossessing; but when offended, his proud nature easily turns to vindictive and almost savage revenge. Invested with the double dignity of General of the royal forces and Constable of France, he comes to Amboise to salute the King and the princesses, who are both strangely interested in his career, and to take the last commands from Francis, who does not now propose accompanying his army into Italy.

There is a restless, mobile expression on Bourbon’s dark yet comely face, that tells of strong passions ill suppressed. A man capable of ardent and devoted love, and of bitter hate; his marriage with his cousin Suzanne, lately dead, had been altogether a political alliance to bring him royal kindred, wealth, and power. Suzanne had failed to interest his heart. It is said that another passion has long engaged him. Francis may have some hint as to who the lady is, and may resent Bourbon’s presumption. At all events, the Constable is no favourite with the King. He dislikes his fanfaronnade and haughty address. He loves not either to see a subject of his own age so powerful and so magnificent; it trenches too much on his own prerogatives of success. Besides, as lads, Bourbon and Francis had quarrelled at a game of maille. The King had challenged Bourbon but had never fought him, and Bourbon resented this refusal as an affront to his honour.

The Constable, mounted on a splendid charger, with housings of black velvet, and attended by a brilliant suite, gallops into the courtyard. His fine person is set off by a rich surcoat, worn over a suit of gilded armour. He wears a red and white panache in his helmet, and his sword and dagger are thickly incrusted with diamonds.

At the top of the grand staircase are posted one hundred archers, royal pages conduct the Constable through the range of state apartments.

The King receives Bourbon in the great gallery hung with tapestry. He is seated on a chair of state, ornamented with elaborate carving, on which the arms of France are in high relief. This chair is placed on a raised floor, or dais, covered with a carpet. Beside him stands the grand master of the ceremonies, who introduces the Constable to the King. Francis, who inclines his head and raises his cap for an instant, is courteous but cold. Marguerite d’Alençon is present; like Bourbon, she is unhappily mated. The Duc d’Alençon is, physically and mentally, her inferior. When the Constable salutes the King, Marguerite stands apart. Conscious that her brother’s eyes read her thoughts, she blushes deeply and averts her face. Bourbon advances to the spot where she is seated in the recess of an oriel window. He bows low before her; Marguerite rises, and offers him her hand. Their eyes meet. There is no disguise in the passionate glance of the Constable; Marguerite, confused and embarrassed, turns away.

“Has your highness no word of kindness for your kinsman?” says the Constable, in a low voice.

“You know, cousin, your interests are ever dear to me,” replies she, in the same tone; then, curtseying deeply to the King, she takes the arm of her husband, M. d’Alençon, who was killing flies at the window, and leaves the gallery.

“Diable!” says Francis to his confidant, Claude de Guise, in an undertone; “My sister is scarcely civil to the Constable. Did you observe, she hardly answered him? All the better. It will teach Bourbon humility, and not to look too high for a mate.”

“Yet her highness pleaded eagerly with your Majesty for his advancement.”

“Yes, yes; that was to please our mother. Suzanne de Bourbon was her cousin, and the Regent promised her before her death to support her husband’s claims.”

Meanwhile, the Constable receives, with a somewhat reserved and haughty civility, the compliments of the Court. He is conscious of an antagonistic atmosphere. It is well known that the King loves him not; and whom the King loves not neither does the courtier.

A page then approaches, and invites the Constable, in the name of Queen Claude, to join her afternoon circle. Meanwhile, he is charged to conduct the Constable to an audience with the Regent-mother, who awaits him in her apartments.

The King had been cool and the Princess silent and reserved: not so the Regent Louise de Savoie, who advances to meet the Constable with unmistakable eagerness.

“I congratulate you, my cousin,” she says, holding out both her hands to him, which he receives kneeling, “on the dignity with which my son has invested you. I may add, that I was not altogether idle in the matter.”

“Your highness will, I hope, be justified in the favour you have shown me,” replies the Constable, coldly.

“Be seated, my cousin,” continues Louise. “I have desired to see you alone that I might fully explain with what grief I find myself obliged, by the express orders of my son, to dispute with a kinsman I so much esteem as yourself” – she pauses a moment, the Constable bows gravely – “the inheritance of my poor cousin, your wife, Madame Suzanne de Bourbon. Suzanne was dear to me, and you also, Constable, have a high place in my regard.”

Louise ceases. She looks significantly at the Constable, as if waiting for him to answer; but he does not reply, and again bows.

“I am placed,” continues the Regent, the colour gathering on her cheek, “in a most painful alternative. The Chancellor has insisted on the legality of my claims – claims on the inheritance of your late wife, daughter of Pierre, Duc de Bourbon, my cousin. I will not trouble you with details. My son urges the suit. My own feelings plead strongly against proceeding any further in the matter.” She hesitates and stops.

“Your highness is of course aware that the loss of this suit would be absolute ruin to me?” says Bourbon, looking hard at Louise.

“I fear it would be most disastrous to your fortunes. That they are dear to me, judge – you are by my interest made Constable of France, second only in power to my son.”

“I have already expressed my gratitude, madame.”

“But, Constable,” continues Louise de Savoie, speaking with much animation, “why have you insisted on your claims – why not have trusted to the gratitude of the King towards a brave and zealous subject? Why not have counted on myself, who have both power and will, as I have shown, to protect you?”

“The generosity of the King and your highness’s favour, which I accept with gratitude, have nothing to do with the legal rights of my late wife’s inheritance. I desire not, madame, to be beholden in such matters even to your highness or to his Majesty.”

“Well, Constable, well, as you will; you are, I know, of a proud and noble nature. But I have desired earnestly,” and the Regent rises and places herself on another chair nearer the Constable, “to ascertain from your own lips if this suit cannot be settled à l’amiable. There are many means of accommodating a lawsuit, Duke. Madame Anne, wife of two kings of France, saved Brittany from cruel wars in a manner worthy of imitation.”

“Truly,” replies Bourbon, with a sigh; “but I know not what princess of the blood would enable me to accommodate your highness’s suit in so agreeable a manner.”

“Have you not yourself formed some opinion on the subject?” asks Louise, looking at the Constable with undisguised tenderness.

“No, madame, I have not. Since the hand of your beautiful daughter, Madame Marguerite, is engaged, I know no one.”

“But – ” and she hesitates, and again turns her eyes upon him, which the Constable does not observe, as he is adjusting the hilt of his dagger – “but – you forget, Duke, that I am a widow.”

As she speaks she places her hand upon that of the Constable, and gazes into his face. Bourbon starts violently and looks up. Louise de Savoie, still holding his hand, meets his gaze with an unmistakable expression. She is forty years old, but vain and intriguing. There is a pause. Then the Constable rises and drops the hand which had rested so softly upon his own. His handsome face darkens into a look of disgust. A flush of rage sends the blood tingling to the cheeks of Louise.

“Your highness mistakes me,” says Bourbon. “The respect I owe to his Majesty, the disparity of our years, my own feelings, all render such an union impossible. Your highness does me great honour, but I do not at present intend to contract any other alliance. If his Majesty goes to law with me, why I will fight him, madame, – that is all.”

“Enough,” answers Louise, in a hoarse voice, “I understand.” The Constable makes a profound obeisance and retires.

This interview was the first act in that long and intricate drama by which the spite of a mortified woman drove the Duc de Bourbon – the greatest general of his age, under whom the arms of France never knew defeat – to become a traitor to his king and to France.