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+*** START OF THE PROJECT GUTENBERG EBOOK 44334 ***
+
+Every attempt has been made to replicate the original as printed.
+Some typographical errors have been corrected; a list follows the text.
+Illustration markings have been moved from mid-paragraph for ease of
+reading. The printed French has not been corrected or modernized.
+(etext transcriber's note)
+
+
+
+
+                               CHANTILLY
+
+[Illustration: _Mary Stuart at the age of nine years from the drawing in
+the Musée Condé at Chantilly._]
+
+
+
+
+                               CHANTILLY
+
+                           IN HISTORY AND ART
+
+                          BY LOUISE M. RICHTER
+
+                          (MRS. J. P. RICHTER)
+
+                    WITH PORTRAITS AND ILLUSTRATIONS
+
+                                 LONDON
+
+                   JOHN MURRAY, ALBEMARLE STREET, W.
+
+                                  1913
+
+
+                          ALL RIGHTS RESERVED
+
+
+                           TO MY DEAR FRIEND
+                            MRS. LUDWIG MOND
+                         THIS BOOK IS DEDICATED
+
+
+
+
+PREFACE
+
+
+My first visit to Chantilly was in April 1904, when the Exhibition of
+the French Primitives at the Pavillon Marsan, following close on that at
+Bruges, raised interest and comment far outside the boundaries of
+France. I visited the Musée Condé with the intention of studying some
+more examples of the French fifteenth-and sixteenth-century art which
+had so much attracted me in Paris.
+
+The high expectations I had conceived were not disappointed, and the
+result was that my studies in that marvellous collection were prolonged.
+Weeks grew into months. The Limbourgs, Jean Fouquet, and the Clouets
+held me in their spell; the Château of Chantilly, with the history of
+its famous owners, aroused my interest more and more.
+
+Through the great courtesy of the late M. Anatol Gruyer and of M.
+Gustave Macon, Directors of the Musée Condé, I was given access to all
+the art-treasures within its walls and I was allowed to while away my
+time with the famous miniatures and drawings and with the pictures in
+which I was so much interested. Tranquil and undisturbed, often quite
+alone, meeting now and then only the furtive glance of one or other of
+the Museum attendants, who were always ready at hand to be of service,
+I was enabled to pursue my studies without interruption, owing to the
+great kindness of my friend M. Macon. The excellent Library, too, was at
+my disposal, as well as the manuscripts in the Cabinet des Livres.
+
+Nor was that all. When at the end of the day the Museum doors were
+closed I could walk in the vast park of the Château along its shady
+avenues and watch the swans gliding on the silent waters, whilst the
+autumn leaves were the sport of the varying breezes. In that unbroken
+solitude Time, now long past, brought before me once more kings and
+queens, courtiers and warriors, ladies of beauty and fame: and amid my
+reveries I seemed to recognise the well-known faces whose
+representations I had just left in the galleries within. For was it not
+here, in these woods and on these lakes, that they had lived and feasted
+in the manner recorded in the chronicles of their time?
+
+Thus, irresistibly attracted by degrees, I conceived the idea of writing
+about the history and the art at Chantilly: and I undertook a task which
+grew gradually in my hands to dimensions that at first I had not
+anticipated.
+
+My chief study, as mentioned above, was intended to be on the French
+fifteenth-and sixteenth-century artists which the Duc d'Aumale so
+successfully collected. To the Italian and the Northern Schools and the
+later French periods at the Musée Condé I have purposely given but a
+passing mention, since they are equally well or better represented in
+other galleries.
+
+The Bibliography which I have appended shows that much has been written
+on early French Art in France, especially during the last fifteen years;
+and I feel greatly indebted to authors such as Comte Leopold Delisle,
+Comte Paul Durrieu, MM. George Lafenestre, Anatol Gruyer, Louis Dimier,
+Gustave Macon, Moreau Nelaton, Sir Claude Phillips, Mr. Roger Fry and
+others, by whose works I have greatly profited, as also by my husband's
+expert knowledge. But no book exactly covering this ground has as yet
+been written in the English language.
+
+More than special acknowledgment and thanks are due to Mr. Robert H.
+Hobart Cust for his help and valuable suggestions. In the arduous task
+of revising the proofs of this book he was assisted by my son Mr. F. J.
+P. Richter. I have also great pleasure in expressing my deep gratitude
+to my dear friend Mrs. Ludwig Mond, whose constant encouragement was of
+inestimable value to me.
+
+I am indebted to Mr. Murray for the personal interest he has so kindly
+shown in the many details which this work entails.
+
+LOUISE M. RICHTER.
+
+_London, October 1913._
+
+
+
+
+CONTENTS
+
+
+PAGE
+
+PREFACE.....vii
+
+AUTHORITIES CONSULTED.....xxv
+
+
+FIRST PART
+
+_CHANTILLY AND ITS HISTORY_
+
+CHAPTER I
+
+CHANTILLY AND ITS OWNERS: THE MONTMORENCYS
+
+The Origin of Chantilly; the Gallo-Roman Cantillius; the Seigneurs of
+Senlis; the Orgemonts; the Montmorencys; the Great Constable of France;
+he builds the Petit-Château; the architects Jean Bullant and Pierre
+des Iles; the fair Charlotte de Montmorency; Henri IV madly in love
+with her; the last Montmorency condemned to the scaffold by Richelieu;
+Chantilly becomes the property of the French Crown.....3
+
+CHAPTER II
+
+CHANTILLY AND THE CONDÉS
+
+The origin of the Condés; their adherence to the Protestant Faith;
+Eléonore de Roy, Princesse de Condé, a staunch Huguenot; the two
+brothers, Antoine de Navarre and Louis I de Bourbon Condé; Catherine
+de Medicis sides with Condé in order to counterbalance the ascendancy
+of the Guises; she succeeds in estranging him from his wife; severe
+censure of Calvin; premature death of the Prince de Condé; his son
+Henri de Bourbon succeeds to the title; he sends all his family
+jewels to Queen Elizabeth to help the Huguenot cause; Charlotte de la
+Trémoille his second wife; his death; his son Henri II is heir to the
+Crown until the birth of Louis XIII; he is imprisoned for political
+reasons by Richelieu; his release; Louis XIII on his deathbed gives
+back Chantilly to its rightful owners.....16
+
+CHAPTER III
+
+THE GRAND CONDÉ
+
+The Duc d'Enghien; his _mariage de convenance_ with Claire-Clemence;
+his attachment to Marthe de Vigeau; Richelieu appoints him General
+of the French army; the Hero of Rocroy; after his father's death he
+assumes his title but is styled the Grand Condé; his victories at
+Fribourg, Nördlingen, and Lens; he puts down the Fronde and brings the
+boy-king Louis XIV back to Paris.....33
+
+CHAPTER IV
+
+CLAIRE-CLEMENCE, PRINCESSE DE CONDÉ
+
+The enmity between Mazarin and Condé; the latter and his brother
+Conti are arrested; the courageous efforts made by Claire-Clemence
+to liberate her husband; her flight from Chantilly; Turenne escorts
+her to Bordeaux where she is received with great enthusiasm; Paris
+clamours for the release of Condé; the Queen is obliged to send Mazarin
+with an unconditional order for this purpose; his entry into Paris;
+he expresses his gratitude to the Princess his wife; new difficulties
+arise; Condé's alliance with Spain; he leaves France and goes over to
+the enemy.....47
+
+CHAPTER V
+
+CONDÉ'S ALLIANCE WITH SPAIN
+
+Condé is defeated by Turenne at Dunkirk; the Peace of the Pyrenees is
+signed; Condé is reinstated in all his rights; he returns to Chantilly
+and lives there in retirement; Le Nôtre lays out the gardens and park;
+Condé invents a hydraulic machine to receive the waters of the Nonette;
+Mansart arrives at Chantilly and begins his alterations to the old
+feudal castle.....59
+
+CHAPTER VI
+
+FESTIVITIES AT CHANTILLY
+
+The marriage of the Duc d'Enghien with Anne of Bavaria; Claire-Clemence
+is neglected by her husband; her health breaks down; a mysterious
+affair; she proclaims her innocence; she is banished to the fortress of
+Châteauroux; great festivities at Chantilly; Louis XIV and his Queen
+Maria Theresa visit Chantilly.....69
+
+CHAPTER VII
+
+THE GRAND CONDÉ A WARRIOR ONCE MORE
+
+Louis XIV after the death of Philip IV of Spain asserts the Flemish
+rights of his wife; he suddenly declares war, and summons the Grand
+Condé and Turenne to lead the French army; Condé conquers Franche-Comté
+and the King makes Lille a French town; William of Orange inundates
+the whole of Holland to save it from invasion by the French; the
+Grand Condé is wounded; he returns to Chantilly; not yet recovered,
+he is summoned back by the King; Turenne is confronted by Montecucoli
+and meets his death near Salzburg; Condé by his brilliant operations
+preserves Turenne's army and shuts out Montecucoli from Alsace, thus
+terminating this great campaign; Madame de Sevigné, Bossuet, Corneille,
+Racine, and Molière at Chantilly; death of the Grand Condé.....78
+
+CHAPTER VIII
+
+THE LAST CONDÉS
+
+Succession of Henri Jules de Bourbon; he carries out his father's
+wishes with regard to Chantilly; he is succeeded by his son Louis III,
+who outlives him but a short time; Louis Henri de Bourbon inherits the
+title when only eighteen; he builds the great stables; Louis XV visits
+Chantilly and is magnificently entertained; the Prince de Condé is made
+Prime Minister of France in 1723; influence of the Marquise de Prie
+over the Prince; after her death he marries a princess of Rhinfeld; the
+young châtelaine of Chantilly is greatly admired by Louis XV; he pays
+frequent visits to the Château; his death; the succession of the infant
+Louis Joseph de Bourbon in 1740; he marries Charlotte de Rohan-Soubise;
+their only son Louis Henri Joseph marries at the age of sixteen a
+Princess d'Orléans; Marie Antoinette visits Chantilly as Dauphine;
+the Comte and Comtesse du Nord at Chantilly; a famous hunting party;
+Princesse Louise de Condé and the Marquis de Gervaisais; an able speech
+in Parliament by the Duc d'Enghien when only sixteen years of age; the
+Revolution breaks out; the Condés leave France.....89
+
+CHAPTER IX
+
+CHANTILLY DURING THE FRENCH REVOLUTION
+
+Chantilly deserted; the Château devastated and used as a prison for
+political offenders; the so-called Black Band razes the Grand Château
+to the ground; Chantilly becomes State property under Napoleon; the
+Prince de Condé head of the French emigrés; he and his regiment
+subsequently find refuge in Russia; his arrival in England; his simple
+home at Wanstead; the tragic death of the Duc d'Enghien; the collapse
+of the French Empire; the Prince de Condé returns to Chantilly; he
+restores his ancestral mansion, and dies; the last of the Condés
+selects his nephew, Prince Henri d'Orléans, as his heir.....106
+
+CHAPTER X
+
+THE DUC D'AUMALE AND LORD OF CHANTILLY
+
+The Duc d'Aumale owner of Chantilly; Chantilly the French Epsom; the
+heir of the Condés at Algiers; his victory at La Smalah; his marriage
+with Princess Caroline de Bourbon, daughter of the Prince of Salerno;
+Chantilly the home of the newly married pair; their son and heir named
+Prince de Condé; Louis-Philippe pays a visit to Chantilly; the Duke
+takes the command of the French Army in Algeria; the Duc d'Aumale in
+exile; his home at Twickenham; death of his eldest son; death of the
+Duchess; the Duke returns to Chantilly after the fall of the Second
+Empire; sudden death of the Duc de Guise, his only surviving son; the
+architect Daumet undertakes to rebuild the Grand Château; visit of the
+Prince and Princess of Wales to Chantilly; the Republic pronounces
+sentence of banishment on all claimants to the throne of France; the
+Duc d'Aumale included in this decree; he returns to England; his home
+at Wood Norton; he publicly announces his intention to leave Chantilly
+with all its forests, parks and art-treasures to the French nation;
+President Carnot signs a decree that France will welcome him back; he
+returns to Chantilly amid great rejoicings of the people; the sculptor
+Dubois is commissioned to erect his statue at Chantilly.....116
+
+
+SECOND PART
+
+_THE MUSÉE CONDÉ_
+
+CHAPTER XI
+
+THE ART TREASURES OF THE MUSÉE CONDÉ
+
+The Duc d'Aumale joins the ranks of the great European collectors; his
+pronounced taste as a bibliophile; he purchases the Standish Library
+in 1851; the _Très Riches Heures du Duc de Berry_ are acquired in
+1855; the Reiset Collection of 380 drawings is bought in 1861; an
+exhibition is organised at Orleans House; Disraeli's speech; the first
+French drawings acquired from the Utterson sale; the Pourtales Vase
+and the Minerva; the Madonna of the _Maison d'Orléans_; the Sutherland
+collection of French drawings is purchased; the portrait of _Antoine de
+Bourgogne_; the Carmontelle Collection is added; the Reiset Collection
+of paintings acquired; Victor Hugo addresses a letter to the Duc
+d'Aumale on his election as member of the Institut de France; Raphael's
+_Three Graces_ purchased from the Earl of Dudley; over 300 French
+drawings are acquired from Lord Carlisle; the Duc d'Aumale makes his
+last important acquisition--the forty miniatures by Fouquet from the
+_Book of Hours_ of Etienne Chevalier.....129
+
+CHAPTER XII
+
+FRENCH ILLUMINATED MANUSCRIPTS AT CHANTILLY
+
+A note in the _Inventory_ of the Duc de Berry mentions Pol de Limbourg
+and his brothers as the authors of the _Très Riches Heures_; Fouquet
+mentioned by François Robertet, Secretary to Pierre de Beaujeu Duc de
+Bourgogne; the Cabinet des Livres of the Duc d'Aumale; the _Psalter_ of
+Queen Ingeburge; the _Breviary_ of Jeanne d'Evreux; the _Très Riches
+Heures du Duc de Berry_ discovered at a villa near Genoa.....154
+
+CHAPTER XIII
+
+THE _TRÈS RICHES HEURES DU DUC DE BERRY_
+
+This work marks an important epoch in the history of French Art; the
+_Calendar Months_ by Pol de Limbourg (the eldest brother); the scenes
+from the _Life of Christ_ joint work of the three brothers; _the
+Zodiac_; _the Plan of Rome_; the Duc de Berry a collector of medals;
+his sudden death interrupts the completion of his _Livre d'Heures_;
+Jean Colombe, half a century later, undertakes the painting of the
+remaining miniatures; his mediocre workmanship.....165
+
+CHAPTER XIV
+
+JEAN FOUQUET OF TOURS
+
+Court-Painter to Charles VII and Louis XI; inspired by the work of the
+Limbourgs; a similar inclination for landscapes in his backgrounds;
+Etienne Chevalier, Treasurer of France, his patron; the forty
+miniatures by Fouquet at Chantilly; Fouquet well known in Italy as
+a painter; commissioned to make a portrait of _Pope Eugenius IV_;
+mentioned by Vasari; his impressions in Italy shown in the miniatures
+at Chantilly and in the MS. of the _Antiquitates Judæorum_; his strong
+individuality; his sense of humour and other characteristics.....179
+
+CHAPTER XV
+
+JEAN PERRÉAL AND BOURDICHON
+
+Bourdichon's name found upon cartridge-cases made out of old accounts
+and contracts; the _Prayer-Book_ of Anne de Bretagne and its
+ornamentation of flowers; Perréal painter to the Duc Pierre de Bourbon;
+studies Fouquet's work at Moulins; the miniatures of the MS. of _St.
+Michel_ in the Bibliothèque Nationale attributed to Perréal by Durrieu;
+affinity between the angels in the MS. and those in the triptych
+at Moulins; why the original drawings of the _Preux de Marignan_
+are likely to be by Jean Perréal rather than by Jean Clouet; the
+handwriting of Perréal identified on the back of a drawing attributed
+to him; the Tournois tapestries; Perréal mentioned in the Royal
+Accounts as Architect and Sculptor; his medals representing _Louis XII_
+and _Anne de Bretagne_ in the Metropolitan Museum, New York, and in the
+Wallace Collection.....196
+
+CHAPTER XVI
+
+JEAN CLOUET
+
+Migrates to France; settles at Tours; marries Jeanne Boucault;
+his portrait of _Oronce Finé_ exists only in an engraving; his
+craftsmanship of a more elaborate nature than that of Perréal; the
+_Duc de Guise_ and the unknown man at Hampton Court; his portrait
+of _Francis I_ in the Louvre; _Queen Claude_ and her sister
+_Renée_; numerous drawings to be attributed to Jean Clouet; his
+characteristics.....211
+
+CHAPTER XVII
+
+FRANÇOIS CLOUET AND HIS FOLLOWERS
+
+Favoured by Francis I; he adheres at first to parental teaching;
+_Mary Stuart_ in her girlhood by Germain le Mannier; _Mary Stuart_ as
+Dauphine and as Queen of France; _Francis II_; _Charles IX_ by François
+Clouet; his exquisite drawing of _Margot de France_ at Chantilly;
+portrait of _Pierre Quthe_ at the Louvre; the portrait of _Odet de
+Coligny_ at Chantilly; _Catherine de Medicis_ as a collector; her
+handwriting identified on the margins of drawings at Chantilly, and
+elsewhere; Corneille de Lyon and the _Dauphin François_; Jean de Court
+court-painter to Henri III; Carron and the brothers Lagneau; Daniel
+Dumoustier; his portrait of _Henri, Duc de Guise_; the Quesnels,
+court-painters to the first Bourbon Kings; the painting of Gabrielle
+d'Estrées and her two sons at Chantilly.....227
+
+CHAPTER XVIII
+
+FROM NICOLAS POUSSIN TO COROT
+
+_Dr. Fagon_ by Mathias le Nain; Nicolas Poussin; his drawing of
+_Daphne_; Gaspar Poussin; Claude Lorraine; Mignard and his portrait
+of _Molière_; the portrait of _Louis XIV_ by Rigaud; Largillière and
+his portrait of a _friend of the Condés_; he painted _Liselotte as a
+Naiad_; the _Princesse de Condé_, wife of Louis Joseph, by Nattier;
+Desportes and Oudry; a copy by Boucher of a portrait of _Watteau_ by
+himself; the relations between Crozat and Watteau; Lancret adopts
+Watteau's style; _Madame Adelaide de France_ by Latour; the portrait
+of _Georgette_ by Greuze; the small portraits of the Royal Bourbons
+and of the _Bourbon Condés_ by Fragonard; Ingres; Delaroche and
+Eugène Delacroix; Descamps represented by no less than ten paintings;
+Fromentin's _Arab Chiefs hawking in the Sahara_; Meissonier and his
+great pupil Detaille; Corot and the Barbizon School; the tomb of the
+Duc d'Aumale by Dubois.....248
+
+INDEX.....279
+
+
+
+
+
+LIST OF PLATES
+
+
+  PLATE
+
+  I. MARY STUART IN HER GIRLHOOD                        _Frontispiece_
+  _Germain le Mannier, Musée Condé._
+
+  FACING PAGE
+
+  II. GUILLAUME DE MONTMORENCY                                      4
+  _Attributed to Perréal, Musée Condé._
+
+  III. THE CHÂTEAU DE CHANTILLY                                     6
+
+  IV. ANNE DE MONTMORENCY                                           8
+  _François Clouet, Musée Condé._
+
+  V. HENRI II DE BOURBON, PRINCE DE CONDÉ                          12
+  _School of François Clouet, Musée Condé._
+
+  " GENEVIÈVE DE BOURBON                                           12
+  _Beaubrun, Musée Condé._
+
+  VI. ANTOINE DE BOURBON                                           16
+
+  " CHARLOTTE DE LA TRÉMOILLE                                      16
+  _School of Francois Clouet, Musée Condé._
+
+  VII. LOUIS I DE BOURBON, PRINCE DE CONDÉ                         18
+
+  " HENRI I DE BOURBON, PRINCE DE CONDÉ                            18
+  _School of François Clouet, Musée Condé._
+
+  VIII. FRANCIS II                                                 20
+  _François Clouet, Bibliothèque Nationale._
+
+  IX. JEANNE D'ALBRET, QUEEN OF NAVARRE                            22
+  _François Clouet, Musée Condé._
+
+  X. CATHERINE DE MEDICIS                                          26
+  _Attributed to Corneille de Lyon, Musée Condé._
+
+  " HENRI II                                                       26
+  _François Clouet, Biblothèque Nationale._
+
+  XI. THE GRAND CONDÉ                                              36
+  _David Teniers, Musée Condé._
+
+  XII. THE VIRGIN AS PROTECTOR OF THE HUMAN RACE                   42
+  _E. Charonton and Vilatte, Musée Condé._
+
+  " THE TOMB OF THE DUC AND DUCHESSE DE BRETAGNE IN
+  THE CATHEDRAL AT NANTES                                          42
+  _Executed after Designs by Perréal._
+
+  XIII. CHANTILLY BEFORE 1687                                      50
+
+  XIII. CHANTILLY IN THE TIME OF THE GRAND CONDÉ                   50
+
+  XIV. ANTOINE DE BOURGOGNE, CALLED LE GRAND BÂTARD                62
+  _Memling, Musée Condé._
+
+  XV. MOLIÈRE                                                      84
+  _Mignard, Musée Condé._
+
+  XVI. CHARLOTTE DE ROHAN SOUBISE, PRINCESSE DE CONDÉ              96
+  _Nattier, Musée Condé._
+
+  XVII. LOUIS JOSEPH DE BOURBON, PRINCE DE CONDÉ                  104
+  _Madame de Tott, Musée Condé._
+
+  XVIII. LOUIS HENRI JOSEPH DE BOURBON, LAST PRINCE DE CONDÉ      114
+  _Danloux, Musée Condé._
+
+  XIX. HENRI D'ORLÉANS, DUC D'AUMALE                              124
+  _Léon Bonnat, Musée Condé._
+
+  XX. THE "MINERVA" OF CHANTILLY                                  136
+  _Greek Bronze, Musée Condé._
+
+  XXI. THE "MADONNA" OF THE HOUSE OF ORLÉANS                      140
+  _Raphael, Musée Condé._
+
+  XXII. A GAME OF CHESS                                           144
+  _Carmontelle, Musée Condé._
+
+  XXIII. THE MYSTIC MARRIAGE OF ST. FRANCIS                       146
+  _Sassetta, Musée Condé._
+
+  " PORTRAIT OF SIMONETTA VESPUCCI                                146
+  _Piero di Cosimo, Musée Condé._
+
+  XXIV. THE THREE GRACES                                          148
+  _Raphael, Musée Condé._
+
+  XXV. THE STORY OF ESTHER                                        150
+  _School of Sandro Botticelli, Musée Condé._
+
+  XXVI. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  PLAN OF ROME                                                    152
+  _Pol de Limbourg and his Brothers, Musée Condé._
+
+  XXVII. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  JANUARY                                                         154
+  _Pol de Limbourg, Musée Condé._
+
+  XXVIII. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  FEBRUARY                                                        156
+  _Pol de Limbourg, Musée Condé._
+
+  XXIX.   THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  APRIL                                                           158
+  _Pol de Limbourg, Musée Condé._
+
+  XXX. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  MAY                                                             160
+  _Pol de Limbourg, Musée Condé._
+
+  XXXI. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  JUNE                                                            162
+  _Pol de Limbourg, Musée Condé._
+
+  XXXII. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  JULY                                                            164
+  _Pol de Limbourg, Musée Condé._
+
+  XXXIII. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  AUGUST                                                          166
+  _Pol de Limbourg, Musée Condé._
+
+  XXXIV. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  OCTOBER                                                         168
+  _Pol de Limbourg, Musée Condé._
+
+  XXXV. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  DECEMBER                                                        170
+  _Pol de Limbourg, Musée Condé._
+
+  XXXVI. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  THE ZODIAC                                                      172
+  _Pol de Limbourg and his Brothers, Musée Condé._
+
+  XXXVII. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  THE PROCESSION OF THE MAGI                                      174
+  _Pol de Limbourg and his Brothers, Musée Condé._
+
+  XXXVIII. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  THE FALL OF THE REBEL ANGELS                                    176
+  _Pol de Limbourg and his Brothers, Musée Condé._
+
+  XXXIX. THE "TRÈS RICHES HEURES DU DUC DE BERRY":
+  THE CORONATION OF THE VIRGIN                                    178
+  _Pol de Limbourg and his Brothers, Musée Condé._
+
+  XL. ETIENNE CHEVALIER AND HIS PATRON SAINT                      180
+  _Jean Fouquet, Musée Condé._
+
+  XLI. THE VIRGIN WITH THE INFANT CHRIST                          181
+  _Jean Fouquet, Musée Condé._
+
+  XLII. THE MARRIAGE OF THE VIRGIN                                182
+  _Jean Fouquet, Musée Condé._
+
+  XLIII. THE ANNUNCIATION                                         184
+  _Jean Fouquet, Musée Condé._
+
+  XLIV. THE VISITATION                                            186
+  _Jean Fouquet, Musée Condé._
+
+  XLV. THE BIRTH OF ST. JOHN THE BAPTIST                          188
+  _Jean Fouquet, Musée Condé._
+
+  XLVI. THE ADORATION OF THE MAGI                                 190
+  _Jean Fouquet, Musée Condé._
+
+  XLVII. THE ASCENSION                                            192
+  _Jean Fouquet, Musée Condé._
+
+  XLVIII. ALL SAINTS' DAY                                         194
+  _Jean Fouquet, Musée Condé._
+
+  XLIX. SEIGNEUR DE LA PALISSE                                    202
+
+  " COMTE DE LIGNY                                                202
+  _Attributed to Perréal, Musée Condé._
+
+  L. ERASMUS                                                      204
+
+  " JUST DE TOURNON                                               204
+  _Attributed to Perréal, Musée Condé._
+
+  LI. FRANCIS I                                                   206
+  _Perréal, Musée Condé._
+
+  " MINIATURES OF FRANCIS I AND CÆSAR                             206
+  _After Perréal, British Museum._
+
+  LII. LOUIS XII                                                  208
+
+  " ODET DE FOIX                                                  208
+  _Attributed to Perréal, Musée Condé._
+
+  LIII. MEDALS OF LOUIS XII AND ANNE OF BRITTANY                  210
+  _After Designs by Perréal, Victoria and Albert Museum._
+
+  " MEDAL OF JEAN CLOUET                                          210
+  _Victoria and Albert Museum._
+
+  LIV. THE DAUPHIN FRANÇOIS                                       212
+  _Jean Clouet, Antwerp._
+
+  LV. MONSIEUR DE NEVERS                                          214
+  _Jean Clouet, Musée Condé._
+
+  " DUC DE GUISE                                                  214
+  _Jean Clouet, Musée Condé._
+
+  LVI. FRANCIS I                                                  216
+  _Jean Clouet, Louvre._
+
+  LVII. QUEEN CLAUDE OF FRANCE                                    218
+  _Attributed to Perréal, Musée Condé._
+
+  " RÉNÉE DE FRANCE, DUCHESS OF FERRARA                           218
+  _Attributed to J. Clouet, Musée Condé._
+
+  LVIII. THE DAUPHIN FRANÇOIS                                     220
+
+  " HENRI D'ORLÉANS                                               220
+  _Jean Clouet, Musée Condé._
+
+  LIX. MADAME VENDÔME D'ALENÇON                                   222
+
+  " JEANNE BOUCAULT                                               222
+  _Jean Clouet, Musée Condé._
+
+  LX. MADAME L'ESTRANGE                                           224
+  _Jean Clouet, Musée Condé._
+
+  LXI. JEANNE D'ALBRET IN HER GIRLHOOD                            226
+  _Jean Clouet, Musée Condé._
+
+  " MADAME MARGUERITE, SISTER OF HENRI II                         226
+  _Attributed to François Clouet, Musée Condé._
+
+  LXII. FRANCIS I                                                 228
+  _Jean Clouet, Louvre._
+
+  " MARGUERITE, QUEEN OF NAVARRE, SISTER OF FRANCIS I             228
+  _Attributed to François Clouet, Musée Condé._
+
+  LXIII. CHARLES IX                                               230
+  _François Clouet, Vienna._
+
+  LXIV. MARY STUART AS QUEEN OF FRANCE                            232
+  _François Clouet, Bibliothèque Nationale._
+
+  LXV. ELISABETH OF AUSTRIA, QUEEN OF FRANCE                      234
+  _François Clouet, Bibliothèque Nationale._
+
+  " JOSSINE PISSELEU                                              234
+  _François Clouet, Musée Condé._
+
+  LXVI. PIERRE QUTHE                                              236
+  _François Clouet, Louvre._
+
+  LXVII. MARGOT OF FRANCE                                         238
+  _François Clouet, Musée Condé._
+
+  LXVIII. DIANE DE POITIERS                                       240
+  _François Clouet, Musée Condé._
+
+  LXIX. MARY TUDOR                                                242
+  _Copy after Perréal, Musée Condé._
+
+  " MADAME DE BOUILLON                                            242
+  _Attributed to J. Clouet, Musée Condé._
+
+  LXX. THE DAUPHIN FRANÇOIS AT THE AGE OF TWENTY                  244
+  _Corneille de Lyon, Musée Condé._
+
+  LXXI. HENRI DE GUISE                                            246
+  _Dumoustier, Musée Condé._
+
+  " MARÉCHAL DE VIELVILLE                                         246
+  _François Clouet, British Museum._
+
+  LXXII. DAPHNE METAMORPHOSED INTO A LAUREL TREE                  250
+  _Nicolas Poussin, Musée Condé._
+
+  LXXIII. LOUISE-HENRIETTE DE BOURBON CONTI                       254
+  _J. M. Nattier, Musée Condé._
+
+  " A FRIEND OF THE CONDÉS                                        254
+  _Largillière, Musée Condé._
+
+  LXXIV. JOSEPH AND POTIPHAR'S WIFE                               258
+  _Prud'hon, Musée Condé._
+
+  " THE GUITAR PLAYER                                             258
+  _Watteau, Musée Condé._
+
+  LXXV. YOUNG GIRL                                                262
+  _Greuze, Musée Condé._
+
+  LXXVI. ARAB CHIEFS HAWKING IN THE DESERT                        272
+  _Eugène Fromentin, Musée Condé._
+
+  LXXVII. THE GRENADIERS AT EYLAU                                 274
+  _Détaille, Musée Condé._
+
+  LXXVIII. CONCERT CHAMPÊTRE                                      276
+  _Corot, Musée Condé._
+
+  LXXIX. TOMB OF THE DUC D'AUMALE                                 278
+  _P. Dubois, in the Cathedral at Dreux; cast at Chantilly._
+
+
+
+
+AUTHORITIES CONSULTED
+
+
+DUC D'AUMALE:
+
+     Histoire des Princes de Condé pendant le XVI et le XVII siècle. 7
+     vols. Paris: Calman Levy, éditeur; _Recueil Anglais Philobiblon
+     Miscellanies_.
+
+BERENSON, BERNHARD:
+
+     A Sienese Painter of the Franciscan Legend, Stefano di Giovanni,
+     called Sassetta, _Burlington Magazine_, 1903.
+
+     Amico di Sandro, _Gazette des Beaux Arts_, 1899.
+
+     The Study and Criticism of Italian Art. London: George Bell & Sons,
+     1901-1902.
+
+BOUCHOT, HENRI:
+
+     Les Primitifs Français, Librairie de l'Art Ancien et Moderne.
+
+     Les Clouets et Corneille de Lyon, Séries "Artistes Célèbres."
+
+COLVIN, SIR SIDNEY:
+
+     Catalogue of Drawings at the British Museum.
+
+     Selected Drawings by Old Masters in the University Galleries and in
+     the Library at Christ-Church, Oxford.
+
+CUST, LIONEL:
+
+     Some Portraits at the National Portrait Gallery, _Studio_, 1897.
+
+     Notes on the Authentic Portraits of Mary Queen of Scots. John
+     Murray, 1903.
+
+     The Royal Collection at Buckingham Palace and Windsor, with an
+     Introduction and Descriptive Text. 1906.
+
+CUST, ROBERT H. HOBART:
+
+     The Life of Benvenuto Cellini. A New Version. George Bell & Sons,
+     1910.
+
+DELISLE, COUNT LEOPOLD:
+
+     Les Livres d'Heures du Duc de Berry, _Gazette des Beaux Arts_,
+     1884.
+
+     Le Cabinet des Livres au Château de Chantilly, _Revue de l'Art
+     Ancien et Moderne_, 1900.
+
+     Les Heures du Connétable de Montmorency, etc.
+
+DILKE, LADY:
+
+     French Painters of the Eighteenth Century.
+
+     French Engravers and Draughtsmen. George Bell & Sons.
+
+DIMIER, LOUIS:
+
+     French Paintings in the Sixteenth Century. London: Duckworth & Co.
+
+DURRIEU, COUNT PAUL:
+
+     Heures de Turin avec 45 feuillets à Peintures des "Très Belles
+     Heures." Paris: 1902.
+
+     Les Débuts de Van Eyck, _Gazette des Beaux Arts_, 1903.
+
+     Les Aventures de deux Splendides Livres d'Heures ayant appartenu au
+     duc Jean de Berry, _Revue de l'Art Ancien et Moderne_, 1911.
+
+FRIEDLÄNDER, MAX:
+
+     Die Votivtafel des Etienne Chevalier von Fouquet, _Jahrbuch der
+     Königl_. _Preussischen Kunstsammlungen_, 1896.
+
+     Die Brugger Leihaustellung, _Repertorium für Kunstwissenschaft_.
+
+FRY, ROGER:
+
+     The Exhibition of French Primitives, _Burlington Magazine_, 1904.
+
+     French Painting in the Middle Ages, _Quarterly Review_, 1904.
+
+     English Illuminated MSS. at the Burlington Fine Arts Club, 1908.
+
+GRUYER, ANATOLE:
+
+     La Peinture au Château de Chantilly.
+
+     Les Quarante Fouquet.
+
+LABORDE, MARQUIS LÉON:
+
+     Renaissance des Arts à la Cour de France.
+
+     Les ducs de Bourgogne.
+
+     Études sur les Lettres, les Arts et l'Industrie pendant le XV
+     Siècle.
+
+LAFENESTRE, GEORGE:
+
+     Les Primitifs à Bruges et à Paris, 1900, 1902, 1904, _Librairie de
+     l'Art Ancien et Moderne_.
+
+     Jehan Fouquet, "Les Artistes de tous les temps." Séries B.
+
+MACON, GUSTAVE:
+
+     Château de Chantilly et le Parc, _Revue de l'Art Ancien et
+     Moderne_.
+
+     Chantilly et le Musée Condé, _Librairie Renouard_.
+
+MANTZ, PAUL:
+
+     La Peinture Française du IX Siècle à la fin du XVI; Alcide Picard
+     and Kaan, éditeur.
+
+MAULDE, DE LA CLAVIÈRE:
+
+     Jean Perréal; Ernest Leroux, éditeurs.
+
+MOREAU-NELATON, ETIENNE:
+
+     Les Le Mannier, Peintres officiels à la cour des Valois, _Gazette
+     des Beaux Arts_, 1901.
+
+     Les Clouet, Peintres officiels des Rois de France.
+
+     Le Portrait à la cour des Valois et les Crayons français du 16ième
+     siècle conservés au Musée Condé à Chantilly, _Librairie des Beaux
+     Arts_, rue Lafayette.
+
+NOLHAC, PIERRE DE, et ANDRÉ PÉRATÉ:
+
+     Le Musée National de Versailles; Braun, Clément & Co.
+
+PHILLIPS, SIR CLAUDE:
+
+     Impressions of the Bruges Exhibition, _Fortnightly Review_.
+
+     Masterpieces of French Art in the Eighteenth Century in Possession
+     of the Emperor of Germany.
+
+TURNER, P. M., and C. H. COLLINS-BAKER:
+
+     Stories of the French Artists from Clouet to Delacroix. London:
+     Chatto & Windus, 1909.
+
+WILLIAMS, H. NOEL:
+
+     The Love-affairs of the Condés. Methuen & Co.
+
+
+
+
+FIRST PART
+
+_CHANTILLY AND ITS HISTORY_
+
+
+
+
+CHAPTER I
+
+CHANTILLY AND ITS OWNERS
+
+THE MONTMORENCYS
+
+
+The Château of Chantilly, now known as the Musée Condé, the magnificent
+gift so generously bequeathed to the French nation by the late Duc
+d'Aumale, has experienced great changes and passed through many
+vicissitudes.
+
+At a very early date a Gallo-Roman, by name Cantillius, fixed his abode
+upon an isolated rock, in the midst of wild forest and marshland; hence
+the name of Chantilly.
+
+In the ninth century we find established here the Seigneurs of Senlis,
+who bore the name of _Bouteillers_, from their hereditary task of
+wine-controllers to the Kings of France--an honorary post which they
+held for some centuries. But the last scion of that sturdy race, having
+seen his castle pillaged during the Jacquerie of 1358, died without
+issue.
+
+After changing hands through three decades, Chantilly in 1386 became the
+property of Pierre d'Orgemont, Chancellor to Charles V of France, who
+laid the foundations of an imposing feudal fortress, flanked by seven
+stately towers.
+
+Several centuries later a change again occurred in the ownership of
+Chantilly. By default of male issue it passed into the possession of
+Jean II, Baron de Montmorency, who married Marguerite, sole heiress of
+the Orgemonts; and with this illustrious family Chantilly emerged from
+comparative obscurity into historical fame. Henceforth it became a
+favourite centre for the leading men of France, and within its
+hospitable walls kings and princes found sumptuous entertainment.
+
+Matrimonial alliance in the beginning of the seventeenth century brought
+the property into the family of the Condés, a younger branch of the
+Bourbons; and later still, by the marriage of the last Prince de Condé
+with Princesse Bathilde d'Orléans, and the tragic death of their only
+son, the Duc d'Enghien, Chantilly passed into the possession of its last
+private owner, Prince Henri d'Orléans, Duc d'Aumale.
+
+The family of the Montmorencys was well known and famous in France
+during the fifteenth and sixteenth centuries, but became extinct under
+Richelieu, who, for reasons of state, sent the last scion of that race,
+Henri de Montmorency, to the scaffold.
+
+[Illustration: Plate II.
+
+Photo. Giraudon.
+
+GUILLAUME DE MONTMORENCY.
+
+Attributed to J. Perréal.
+
+Musée Condé.]
+
+Guillaume, son of Jean de Montmorency, who married the heiress of
+Chantilly, joined in an expedition to Italy under Charles VIII of
+France. There are portraits of him in the Louvre, and at Lyons, whilst a
+fine crayon drawing representing him in his younger days is to be found
+in the portfolios of the Musée Condé. He it was who, in 1515,
+constructed the Chapel of the Château, obtaining from Pope Leo X a bull
+for its foundation. He married Anne de Pot, and their eldest son was the
+famous Anne de Montmorency, known as the _Grand Connétable_. Queen Anne
+of Brittany held him at the baptismal font, conferring upon him her own
+name, and he was educated with the Duc d'Angoulême, afterwards King
+Francis I.
+
+Anne de Montmorency in early youth distinguished himself by artistic
+taste, probably acquired at the Court of Louise of Savoy, mother of
+Francis I. No sooner had he succeeded his father as Lord of Chantilly
+than he endeavoured to create a mansion more in accordance with the
+refined taste of his time. Without demolishing the fortifications and
+the stately towers of the Orgemonts, he succeeded in introducing more
+light into the mediæval chambers by piercing their walls with large
+windows. He hung the interior of the castle with tapestries, and
+furnished it richly with the artistic spoils of his expeditions into
+Italy. He also commenced the formation of the famous Library,
+subsequently continued by the Condés until it reached the fame which it
+enjoyed under its latest owner, the Duc d'Aumale.
+
+Under the Grand Connétable's directions were executed the forty-four
+painted glass windows still at Chantilly. They illustrate the legend of
+_Cupid and Psyche_ after cartoons by the school of Raphael, and were
+produced in France about 1546 by Jean Mangin and Leonard Gautier.
+
+Montmorency's artistic tastes, however, did not prevent him from being
+the greatest warrior of his time. Together with his maternal uncles,
+Gouffier de Boissy and Gouffier de Bonnivet, he was numbered among the
+so-called _Preux_ who fought victoriously by the side of King Francis I,
+at the Battle of Marignan. He followed the King to Pavia, where he was
+made a prisoner with his Royal master, and in 1530 he was at Bayonne, to
+negotiate the release of the young Princes of Valois, who had been kept
+as hostages by the Emperor Charles V. After the Peace of Madrid he again
+fought against the Imperial troops in Picardy, and it was upon this
+occasion that he received the title of "Great Constable" of France.
+
+In spite, however, of his great prowess he fell into disgrace with the
+King through the intrigues of Madame d'Estampes. As in the case of the
+Connétable de Bourbon, Francis I, ever fickle in his friendships, became
+so jealous of Montmorency's fame that the latter was obliged at last to
+retire to Chantilly; where he employed his time in improving this
+favourite abode. He constructed on an island close to the older feudal
+castle, the fine Renaissance palace known as the Petit-Château, which by
+some miracle has remained almost intact to this day. It is probable that
+Jean Bullant, the architect of Ecouen, was consulted with regard to this
+Petit-Château at Chantilly, for the style of its architecture marks
+the transition between the mediæval Gothic and the period of the
+French Renaissance, and ranks it with buildings such as the châteaux of
+Chambord, Chenonceaux, d'Azay le Rideau, and Langeais.[1]
+
+[Illustration: PLATE III.
+
+THE CHÂTEAU DE CHANTILLY.]
+
+This style, according to Viollet-le-Duc, grew up like the beech-trees
+and the willows near the Loire, and--as in the case of Chantilly--is
+often found side by side with feudal castles of a much older period; the
+owners of which, apparently unwilling to demolish their ancestral homes,
+preferred at the same time to occupy more modern and commodious
+residences.
+
+The chief distinction between the French and Italian Renaissance is that
+the former is less conventional and offers less regularity of style in
+its building. It is a style that reached its climax in the châteaux of
+Blois and Chambord, each of which preserves some characteristics of the
+nobles who erected them, although the names of the actual architects, in
+spite of their undoubted creative skill, remain for the most part
+unknown. Such is the case with the Petit-Château of Chantilly.
+
+Anne de Montmorency was an intimate friend of Diane de Poitiers, the
+friend and mistress of Henri II. This lady was owner of the Château of
+Clemonceaux, which no doubt served as a model to Montmorency when
+erecting his own new palace. The complete absence of documents with
+regard to this structure is greatly to be regretted, but the
+supposition that Jean Bullant, who was in constant relation with Pierre
+des Iles, known as "Maçon" of Chantilly, had a hand in its erection, as
+stated above, is by no means unreasonable. It is an architectural gem,
+and provoked the admiration of Leonardo da Vinci and Benvenuto Cellini,
+who both enjoyed hospitality within its walls.
+
+Anne de Montmorency was created Duke by Henri II, and after the sudden
+death of that King he succeeded in securing the goodwill of Francis II
+and Charles IX. Queen Catherine de Medicis cordially disliked him, but
+nevertheless endeavoured to use him as a tool against the Huguenot Louis
+I de Bourbon, Prince de Condé.
+
+In 1562 he won the battle of Dreux against Condé and Coligny, and he
+routed them again in 1567 at Saint-Denis, though at the sacrifice of his
+own life; for he was severely wounded, and died shortly afterwards in
+Paris.
+
+Anne de Montmorency at various stages of his life is presented in a
+series of French drawings, dating from 1514, as a _Preux de Marignan_,
+down to his old age. There also exists a drawing of his wife Madeleine
+de Savoie. By a fortunate coincidence these drawings--of which we shall
+speak later on--have found their way back to Chantilly. In the
+stained-glass windows of the chapel, painted in 1544, may be seen
+portraits of his numerous children executed by Bardon after
+still-existing cartoons by Lechevallier Chevignard. In order to complete
+the family the Duc d'Aumale commissioned the artist Guifard to add on
+the walls of the same chapel portraits of the great Constable and his
+wife.
+
+[Illustration: Photo. Giraudon.
+
+ANNE DE MONTMORENCY.
+
+François Clouet.
+
+Musée Condé.]
+
+After the death of Anne de Montmorency, his eldest son François became
+Lord of Chantilly. He married Diane de France, whose portrait is also
+amongst the drawings in this collection. She was a natural daughter of
+Henri II, and widow, at the early age of eighteen, of Orazio Farnese,
+Duca di Castro. Brantôme says of her that it was not possible to see a
+lady mount on horseback like her, nor with better grace. The woods of
+Chantilly offered great opportunities to her passion for the chase, and
+it was probably for this reason that, in the company of her
+mother-in-law, Madeleine of Savoy, she made it her principal residence.
+Diane, so called after her godmother Diane de Poitiers, was a great
+favourite with her royal brothers, and after the death of her husband
+became known by the title of "Duchesse d'Angoulême." Since she was
+childless, François de Montmorency was succeeded by his brother Henri,
+who distinguished himself as one of the strongest opponents of the
+_Ligue_. He, too, was created Constable, and subsequently assisted Henri
+IV in the reconquest of his kingdom. His second wife, Louise de Budos,
+died at the early age of twenty-three, soon after giving birth to a son
+and heir, called Henri after his father. Their elder child, a daughter,
+Charlotte, was renowned for her beauty; and Lord Herbert of
+Cherbury--who in his _Memoirs_ describes Chantilly at that
+period--expressed a wish for her portrait in order that he might show
+it to the Queen of England. Invited by Henri de Montmorency to make a
+lengthened stay at Chantilly, he was so enchanted that he calls it "an
+incomparably fine residence, admired by the greatest princes of Europe."
+He relates that the Emperor Charles V was received by the first Duc de
+Montmorency, Anne, the _Grand Connétable_, whilst on his way across
+France from Spain to the Netherlands; and that after that monarch had
+examined the castle with its moats, bridges, and extensive forests, he
+was so overcome with admiration that he said he would gladly give one of
+his provinces in the Netherlands for this unsurpassable residence.
+
+Lord Herbert further discourses upon the hangings of silk adorned with
+gold, and of the pictures, statues, and works of art in the sumptuous
+chambers of the Château. He also mentions the huge carp and trout in the
+ponds, and the merry hunting parties attended along the avenues by packs
+of hounds.
+
+Another great admirer of Chantilly was Henri IV, who was on terms of
+intimate friendship with Henri de Montmorency. This King was even
+accustomed to visit Chantilly during the absence of its owner, and had
+his own apartments there and his own garden, the so-called _Jardin du
+Roy_, of which he enjoyed superintending the arrangements.
+
+There was, however, another reason for his numerous surprise visits: no
+less an object than Charlotte, Duke Henry's beautiful daughter. Bereft
+of her mother, as we have seen, at an early age, she was presented at
+the French Court by her aunt, the Duchesse d'Angoulême, and her beauty,
+as described by Bentivoglio, seems to have been of so irresistible a
+charm that it made a deep impression on the fancy of the gallant King.
+So great indeed was the admiration which he displayed for the young
+Charlotte de Montmorency that it became a matter of public notoriety,
+and throws a curious light upon the famous personages of that period and
+their morals.
+
+Although Charlotte had not yet attained her fifteenth year, a marriage
+had been arranged for her with the brilliant Bassompière, at that time a
+great favourite with the King. His Majesty had given his consent to the
+marriage; but he nevertheless one day made the following proposals to
+Bassompière: "Listen! I wish to speak to you as a friend. I am in love
+with Mademoiselle de Montmorency, and that even madly. If you marry her
+and she loves you, I should hate you; if she loved me, she would hate
+you. Now, for the sake of our mutual friendship, it would be better that
+this marriage should not take place, for I love you with real affection
+and inclination. I have therefore resolved to arrange a marriage between
+Mademoiselle de Montmorency and my nephew the Prince de Condé in order
+to keep her near me. She will thus be the consolation of my old age. To
+my nephew, who prefers the chase to the ladies, I shall give 100,000
+francs a year and claim nothing for it in return but the affection of
+the newly-married couple!" After this confession, poor Bassompière
+understood that he had better comply with the King's wishes, and the
+fair Charlotte was therefore married to Henri II de Bourbon, third
+Prince de Condé. The wedding was celebrated at Chantilly with much pomp,
+and the King lavished splendid jewels and rich dresses upon his new
+niece, making no secret of the admiration he cherished for her. He spoke
+of it as only a fatherly affection; but in spite of his good intentions
+his fancy took the character of so violent a passion that he could not
+control it. Condé, not insensible to what was going on, purposely
+retired to his remotest country-seats so as to protect his wife from the
+gallantries of the King; but, unable to endure her absence, Henri
+appeared disguised as a falconer at one of the hunting parties,
+whereupon Charlotte, who was present, fainted on recognising him. His
+distress at being separated from his "_bel ange_" was so great that even
+the Queen, Marie de Medicis, took pity on him, and entreated Condé to
+return with his charming wife to Court, and Malesherbes sang the amours
+of the King in glowing love-poems. Condé, considering the honour of his
+young wife at stake, carried her off instead to the Netherlands, on a
+visit to his sister the Princess of Orange. When the King heard of this
+he was furious, and asserted that the charming Princess had been
+compelled to leave her country by force. He sent a captain of his own
+Guard to explain the matter to the Archduchess Isabella, at that time
+Governess of the Netherlands, whilst Chaussé, a police official, was
+ordered to follow up the fugitives and prevent their reaching Belgium.
+Chaussé actually overtook the Princess, who, having been obliged to
+leave her carriage near the River Somme, had broken down after a fifteen
+hours' ride on horseback.
+
+[Illustration: PLATE V.
+
+HENRI II DE BOURBON, PRINCE DE CONDÉ.
+
+GENEVIÈVE DE BOURBON.
+
+_Musée Condé._]
+
+But we cannot digress here to pursue this love-affair of Henri IV and
+Charlotte de Montmorency. Suffice it to say that, transferred to foreign
+territory, it immediately became a _cause célèbre_, and even threatened
+for a time to create serious political disturbances between France and
+Spain. The fact that the Regent of the Netherlands, in order to please
+both parties, allowed the Princesse de Condé to prolong her visit to the
+Princess of Orange but at the same time ordered her husband to leave the
+Netherlands within three days, was severely commented upon by the
+Marchese Ambrogio di Spinola, at that time representative at Brussels of
+the Spanish Court.
+
+This valiant captain, originally a Genoese merchant, had equipped 9,000
+men at his own cost, and with them had succeeded--where so many had
+failed--in confronting Prince Maurice of Nassau and terminating the
+siege of Ostend. Reduced after this exploit to comparative inactivity,
+he hailed an opportunity likely to bring about a conflict between
+personages of such importance as Henri IV of France and the King of
+Spain.
+
+There was, moreover, another motive for Spinola's pertinacity in
+retaining the Princesse de Condé in the Netherlands in spite of the
+most urgent entreaties of the gallant King. He himself was also
+suspected of having become enamoured of that dangerous beauty, and he
+alleged that it was quite against Spanish etiquette that Henri II de
+Bourbon, Prince de Condé, a Prince of the Blood Royal of France, should
+not have received the honours due to his rank while passing through the
+Netherlands. Condé, who, leaving his young wife with the Princess of
+Orange, had already departed to Cologne, was therefore recalled. He saw
+his wife, and received a gracious welcome from the Archduchess and the
+Prince and Princess of Orange; and then, accompanied by his secretary,
+in a violent snowstorm and under Spanish escort, he left for Milan,
+secretly determined to seek the assistance of Philip II, King of Spain,
+against the grievous wrong done to him by Henri IV.
+
+The gallant King enjoyed the _rôle_ of Lancelot, and the fair Charlotte
+was rather proud of his attentions, so that their amours became a
+subject of discussion and comment throughout the whole of Europe. It was
+even alleged that Henri IV was preparing for war against the Netherlands
+to obtain by force the return of the Princesse de Condé, held in bondage
+by the Archduchess Isabella in Flanders. This, however, was in truth but
+a pretext on the part of the King; for in spite of the libertinism in
+which His Majesty indulged on this occasion, and which seemed for the
+moment to overcloud his sense of right and wrong, we must remember that
+Henri IV always proved himself a patriot, and one whose constant
+endeavour it was to advance the welfare of France. We may, therefore,
+surmise with the late Duc d'Aumale that it was chiefly his desire to
+liberate Europe from the Austrian yoke, and thus give to France the
+position he wished her to hold--not merely the _beaux yeux_ of the
+Princesse de Condé--which actually induced him to prepare for war.
+Nevertheless he so successfully frightened the Archduchess Isabella that
+she agreed to let the Princess depart at last.
+
+In the midst, however, of all these unsolved problems Henri IV was
+suddenly struck down by the hand of Ravaillac, and as soon as the news
+reached Condé, who was already on his way to Spain, he immediately
+returned to France and made a temporary truce with the Regent, Marie de
+Medicis. But to his wife he seemed unforgiving, requesting her father,
+Henri de Montmorency, to keep her at Chantilly.
+
+
+
+
+CHAPTER II
+
+CHANTILLY AND THE CONDÉS
+
+
+The family of Condé derived their origin from the French town Henegau,
+in Flanders, where a certain Godefroy de Condé owned part of the barony
+of Condé as early as 1200. In 1335 his great-granddaughter married Jacob
+de Bourbon, who in due course became the ancestor of the Royal branch of
+the Bourbons. His second son received for his inheritance the barony of
+Condé, and it was one of his descendants, Louis de Bourbon, who
+eventually took the title of "Prince de Condé." This Louis was one of
+the many sons of the Duc de Vendôme, only surviving brother of the
+famous Constable, Charles de Bourbon, who met a premature death at the
+Sack of Rome in 1527: a turbulent spirit who caused Henry VIII to say to
+Francis I, "_Mon frère de France a là un sujet dont je ne voudrais pas
+être le maître_."
+
+[Illustration: Plate VI.
+
+Photo. Giraudon.
+
+ANTOINE DE BOURBON.
+
+School of François Clouet.
+
+Photo. Giraudon.
+
+CHARLOTTE DE LA TREMOILLE.
+
+School of François Clouet.
+
+Musée Condé
+
+_To face page 26._]
+
+The eldest brother Antoine de Bourbon, by his marriage with Jeanne
+d'Albret (daughter of Marguerite, sister of Francis I), became King of
+Navarre; and their son, Henri IV, succeeded to the throne of France on
+the death of Henri III de Valois. Louis de Bourbon, first Prince de
+Condé,[2] married Eleonore de Roye, granddaughter of Louise de
+Montmorency, a sister of the famous Constable Anne and mother of the
+Huguenot chief, Gaspard de Coligny. It was no doubt owing to the
+influence of his wife Eleonore--so named after the second wife of
+Francis I--that the Prince de Condé embraced the Protestant cause, and
+was thenceforward regarded by the Huguenots as one of their leaders.
+Eleonore was on terms of great intimacy with her sister-in-law, Jeanne
+d'Albret, Queen of Navarre, who had herself become a Protestant; and one
+may fairly assert that if Antoine de Bourbon, King of Navarre, and his
+brother Louis de Condé, had in any way equalled their noble wives in
+pious sentiment and religious fervour, the Protestant Faith in France
+would never have been nipped in the bud, but would have become as firmly
+established there as it did in England and Germany.
+
+As it was, the Guises of Lorraine who embraced the Catholic cause gained
+considerable ground after the death of Henri II, through their cousin
+Mary Stuart, Queen of France; and with the ostensible object of
+furthering this cause, they also tried to supplant the Bourbon Princes,
+Antoine de Navarre and Louis de Bourbon Condé, who were by right nearer
+the throne. The latter during the reign of Francis II was thrown into
+prison for high treason, under a false accusation brought against him
+by the Guises, and condemned to death. In her despair, his unhappy wife,
+Eleonore, threw herself upon her knees before the King, imploring
+permission for a last interview. The young King was about to relent; but
+the Cardinal of Lorraine, fearing that she might attain her object,
+drove her roughly from the Royal presence. The unscrupulous Guises had
+even conceived a plan of making away with this Princess before her
+husband; for (as a contemporary writer tells us) they feared her
+intellect and courage in proclaiming her husband's innocence. They hoped
+to get rid, not only of her, but also of the King of Navarre and the
+Châtillons. But at this juncture a change occurred in political affairs.
+
+[Illustration: Plate VII.
+
+Photo. Giraudon.
+
+LOUIS I. DE BOURBON, PRINCE DE CONDÉ.
+
+School of François Clouet.
+
+Photo. Giraudon.
+
+HENRI I. DE BOURBON, PRINCE DE CONDÉ.
+
+School of François Clouet.
+
+Musée Condé.
+
+_To face page_]
+
+Francis II, whose health had always been delicate, suddenly showed
+alarming symptoms of decline. Catherine, the _Royne Mère_, cast about to
+get the Regency into her own hands; and in order to check the steadily
+growing power of the Guises, she resolved to recall the Bourbons,
+promising to save Condé from death if they would accept her as Regent.
+The King of Navarre, Antoine de Bourbon, consented to her proposition in
+order to save his brother. The terrified Guises entreated Catherine to
+keep Condé still in prison; since he would, if set at liberty, get the
+better of them all. It is characteristic to note that when the state of
+the King's health became desperate, the Guises were wholly without
+sympathy; though we read that Mary Stuart nursed her dying husband
+with tenderest solicitude. As soon as the King had breathed his last,
+Gaspard de Coligny addressed these memorable words to those who stood
+by: "_Messieurs, le roi est mort, çela nous apprend à vivre_."
+
+The death of Francis II opened Condé's prison doors; whereupon he
+insisted on proving his innocence, and claiming punishment for those who
+had caused his incarceration. The Guises began to tremble, and their
+friends trembled with them. Meantime, Catherine de Medicis, always
+intent on her own interests, tried to placate the Protestant nobility,
+and even showed toleration for the Protestant cult in various parts of
+France. She endeavoured to entice Condé to her Court through the charms
+of one of her Court ladies--the beautiful Isabelle de Limeuil--in order
+to make him an instrument for her own purposes. Brantôme, with reference
+to this, speaks of Louis de Bourbon as a man of corrupt morals. Nor
+could he resist the passion shown for him by Marguerite de Lustrac,
+widow of the Maréchal de Saint-André, from whom he accepted the
+magnificent château of Valery, with its vast appanage, originally
+intended as a dowry for Mademoiselle de Saint-André, the affianced bride
+of his own son Henri I de Bourbon, who had died young, poisoned, it is
+said, by her mother. Condé's irregular habits called for the severe
+rebuke of Calvin, and his noble wife Eleonore was broken-hearted over
+them.
+
+Antoine, King of Navarre, the eldest of the brothers, also became a
+puppet in the hands of the Queen-Mother and the Guises, who deliberately
+provoked the sanguinary conflicts at Vassy between the Huguenots and the
+Catholics.
+
+Jeanne d'Albret, who sided with the Protestants, left the Court in
+consequence, and to the great regret of Eleonore, retired to her kingdom
+of Navarre. Had the husbands of these two great ladies been equally
+desirous of keeping the peace the Massacre of St. Bartholomew would
+never have taken place. Indeed, when Eleonore de Roye died at the early
+age of twenty-eight the Protestants of France lost faith in Condé as
+their leader, believing that it was through her influence alone that he
+served their cause.
+
+When Eleonore felt her end approaching she sent a messenger for her
+husband and upon his hurrying to her bedside most generously forgave him
+for all his infidelities. Her eldest son, Henri I de Bourbon, who had
+shared all her anxieties and who had been her constant companion,
+listened with deep emotion to her exhortations to his father that he
+should remain true to the Protestant Faith; and the memory of this noble
+woman prevailed with Condé after her death.
+
+[Illustration: Plate VIII.
+
+Photo Giraudon.
+
+FRANÇOIS II. KING OF FRANCE.
+
+Francois Clouet.
+
+Bibl. Nar. Paris.
+
+_To face page 20._]
+
+The intriguing Catherine, after much wavering, then declared herself
+upon the Catholic side, and compelled Michel de l'Hôpital, who had tried
+to reconcile the two parties, to resign. The consequence of this
+decision was the bloody battle of Jarnac, where Condé died the death of
+a hero. No one could deny that he loved and honoured France, and that
+he was a great warrior. Even the Guises, his implacable enemies,
+endeavoured to conciliate him, and tried to arrange, after his wife's
+death, a marriage between him and Mary Stuart. How different, if this
+alliance had been accomplished, would have been the destinies of that
+ill-fated Queen![3]
+
+Henri I de Bourbon[4] succeeded his father as Prince de Condé, and
+secured the friendship of Jeanne d'Albret, Queen of Navarre; so that
+when the Huguenots, after the disaster of Jarnac, shut themselves up in
+La Rochelle, the widow of Antoine de Bourbon appeared in their midst and
+presented to them her son Henri de Béarn, together with his cousin the
+young Prince de Condé. Under the guidance of Gaspard de Coligny these
+two young Princes were received amongst the leaders of the Protestant
+army, at that time in a critical position and in great pecuniary
+straits. The young Prince de Condé disposed of most of his jewels,
+whilst Coligny and Jeanne d'Albret made similar sacrifices. These jewels
+were sent to Queen Elizabeth of England as security for a sum of money
+forwarded by her to the Protestant forces.
+
+Coligny seems to have thought highly of the abilities of the young Condé
+Prince, to whom he deputed the command in his absence.
+
+It is indeed remarkable that so fervent a Calvinist as Jeanne d'Albret
+should have consented to the engagement of her son to Margot de France,
+youngest daughter of Catherine de Medicis. It is true that the horrors
+of St. Bartholomew had not then taken place, nor had the close ties of
+relationship between the houses of Valois and Navarre at that date been
+loosened. At the same time a marriage was arranged by Jeanne d'Albret
+between Henri de Condé and Marie de Clève, daughter of the Duc de Nevers
+and Marguerite de Bourbon. This lady was rich, accomplished, and of rare
+beauty; and it was an open secret at the time that the Duc d'Anjou
+(afterwards King Henri III) was madly in love with her.
+
+[Illustration: Plate IX.
+
+Photo. Giraudon.
+
+JEANNE D'ALBRET, QUEEN OF NAVARRE.
+
+François Clouet.
+
+Musée Condé.
+
+_To face page 21._]
+
+The marriage of the Prince de Condé was an occasion for great rejoicing
+amongst the Protestant party, when all at once news arrived of the
+sudden death of Queen Jeanne d'Albret under suspicious circumstances. It
+was rumoured that Catherine de Medicis wished to remove her before the
+nuptials of her son Henri of Navarre and Margot de France. The _douce
+enfant_ (as Francis I called her, when Dauphine of France) had schooled
+herself well to the difficult position in which as a young wife she
+found herself with Diane de Poitiers; but as Queen-mother and Regent she
+developed into a false and ambitious woman, who actually planned the
+carnage of St. Bartholomew on the eve of her own daughter's marriage
+to the chief of the Huguenot party.
+
+It does not enter into our present work to describe the horrors for
+which she was responsible on that occasion, but it is sufficient to say
+that Gaspard de Coligny found his death, whilst the lives of Condé and
+of the King of Navarre were only spared on the condition that they
+abjured the Protestant Faith. Condé, however, at first persisted in a
+refusal, although his young wife obeyed. For this reason he was summoned
+before the boy King, Charles IX, who, advancing towards him, called out,
+"The Mass, Death, or the Bastille, Choose!" "God will not allow," said
+Condé quietly, "that I choose the first, my King! The two other
+alternatives are at your pleasure." In a fury, the King rushed upon him
+and would have slain him then and there, had not the Queen, Elizabeth of
+Austria--the only redeeming feature of this contemptible Court--thrown
+herself at the feet of her husband to prevent him. Finally, however, the
+two Bourbon Princes did attend Mass, and the Cardinal de Bourbon gave
+Condé and his bride the nuptial benediction in the church of St. Germain
+des Prés.
+
+But this was not enough; for both Navarre and Condé were forced to fight
+against those very Huguenots whose leaders they had been; and they were
+compelled to march under the command of the Duc d'Anjou against that
+same La Rochelle where Condé had passed so many years with his noble
+friend Gaspard de Coligny, engaged in furthering the Protestant cause.
+
+In 1574, however, upon the death of Charles IX, Condé and Henri of
+Navarre again joined the Protestant forces. Not so Marie de Clève, who
+was even trying to make this a plea for a separation when she died
+suddenly in giving birth to a daughter.[5] Twelve years later Condé
+contracted another marriage, with Charlotte Catherine de la Trémoille.
+
+We propose in this brief sketch of the Condé family, who eventually
+became Lords of Chantilly, to say something also regarding the lives of
+the Princesses de Condé, since some of them rank amongst the most noble
+and interesting women of their time. Charlotte de la Trémoille[6] was
+the daughter of the Duc de Thouars and Jeanne de Montmorency. She lived
+with her mother in the fortified castle of Taillebourg, and was of a
+romantic turn of mind and very handsome. Condé, presented by her
+brother, the young Duc de Thouars, whilst he chanced to be in the
+neighbourhood, paid a visit to the young lady; and although of the
+opposite party--for the Trémoilles were Catholics--he came unattended.
+He showed her more attention than was his usual custom, so that she fell
+in love with him. She was but seventeen years of age, whilst Condé was
+by that time thirty-three, but without an heir to his name. He had a
+fine head and well-cut features; his expression was pensive, and
+betrayed a delicate and nervous constitution. The fact of his being a
+Prince of the Blood Royal and of illustrious lineage stimulated, no
+doubt, Mademoiselle de la Trémoille's poetic imagination.
+
+When, after the disaster of Angers, Condé was compelled to go into
+hiding in Guernsey whilst vainly soliciting the help of Queen Elizabeth,
+he saw one morning two well-equipped ships approaching the harbour. The
+captain of the party presently sent one of his officers to the Prince,
+bearing a letter from Charlotte de la Trémoille begging him to make use
+of these, her ships. Condé, who had remained so long a helpless prisoner
+on the island, embarked at once, and upon his arrival at La Rochelle
+found the Princess awaiting him at that port.
+
+A few days later the wedding was celebrated quietly at the Château de
+Taillebourg: both the Princess and her brother having become adherents
+of the Reformed Faith before that event took place.
+
+In 1587 a daughter was born to Condé, named Eleonore after her noble
+grandmother, who subsequently married the Prince of Orange.
+
+       *       *       *       *       *
+
+In that same year (1587) the eighth and last religious war broke out in
+France, known as the War of the Four Henris--Henri III, Henri de Guise,
+Henri of Navarre, and Henri de Bourbon Condé. The first battle was
+fought at Coutras, between the Duc de Joyeuse, who commanded 7,000 men
+for Henri III, and the joint forces of Henri of Navarre and Henri de
+Condé, who had between them but 5,000 men. The fight was a prolonged one
+and ended in a victory for the two Bourbons, who both greatly
+distinguished themselves, "_Messieurs_," cried Navarre, before the fight
+began, "_souvenez vous que vous êtes de la maison de Bourbon. Vive Dieu!
+Je vous ferai voir que je suis votre ainé!" "Et nous, vous montrerons
+des bons cadets_," replied Condé.
+
+But Duc Henri de Guise presently restored the fortunes of the Catholics
+by the victories of Vimory and Auneau, wherein no less than twenty
+thousand Protestants perished.
+
+Henri III, true Valois that he was, was not, however, grateful to the
+victor. Jealous of his success and growing popularity, he caused him to
+be foully murdered at the Château of Blois, whither he had summoned him
+from Paris. The Cardinal de Lorraine, his brother, shared his fate.
+
+Even Catherine de Medicis, then on her deathbed, was horrified at her
+son's treachery towards the Guises, who had fought so ably for the
+Catholic cause. "_Vous avez fait mourir le duc de Guise!_" she
+exclaimed; "_Dieu veuille que vous vous trouviez bien de l'action que
+vous venez de faire. Mais vous ne pouvez, je crois, vous en felicitez.
+Ce n'est pas tout de tailler, il faut savoir coudre._"
+
+[Illustration: Plate X.
+
+CATHERINE DE MEDICIS.
+
+Attributed to Corneille de Lyon.
+
+Musée Condé.
+
+HENRI II.
+
+François Clouet.
+
+Bibl. Nat. Paris.
+
+_To face page 26._]
+
+When the news of the murder of the two Guises became known in Paris,
+greatest public indignation was aroused; and the Sorbonne declared that
+France ought to strive earnestly against such a King. In order to save
+himself, the wretched King made overtures to Henri of Navarre,
+addressing him as "brother." A reconciliation took place between them,
+and together they laid siege to Paris with an army of 40,000 men.
+Before, however, the assault took place, Henri III was murdered by a
+fanatic monk, designating with his last breath Henri of Navarre as his
+successor to the throne of France, but imploring him at the same time to
+embrace the Catholic Faith.
+
+The crown thus devolved upon Henri de Bourbon, King of Navarre, as
+lineal descendant of Robert de Clermont, sixth son of Saint Louis;
+whilst Henri de Bourbon Condé, his cousin, became heir-presumptive. The
+health of the latter, however, began to fail, owing partly to an injury
+incurred by a fall from his horse, and partly to severe attacks of
+fever. Trusting to a partial recovery, he ventured too soon into the
+saddle, being, according to a contemporary writer, over-fond of riding,
+and in consequence suffered a relapse which ended fatally. Tifburn, the
+faithful custodian of the Château de Saint-Jean d'Angely, thus describes
+his unexpected death: "I was the person selected to report this sad
+mischance to the Princess, and I found her coming down the stairs of the
+large apartment to visit her husband. He had been ill, and had become
+worse since the day before, but none would have supposed the end was so
+near. When she saw me so downcast she pressed me to tell her what had
+occurred. When she heard the sad news she fainted, and had to be
+transported to her bed, where she sobbed and cried and would not be
+consoled."
+
+Henri IV, on hearing of this disaster, hastened to Saint-Jean d'Angely;
+but on the way information reached him that two of the Princesse de
+Condé's servants--her page, Belcastle, and a valet--had suddenly
+disappeared, and that they had fled on two horses, kept in readiness for
+them by one Brillant, known to be a procurer employed at the castle. On
+hearing this, he turned the bridle of his horse, unwilling to interview
+the widowed Princess.
+
+In a letter to la belle Corisande, Duchesse de Grammont, he writes
+regarding this incident as follows: "_Jeudy, le Prince de Condé ayant
+couru la bague, il soupa se portant bien. A minuit lui prit un
+vomissement très violent, qui luy dura jusqu'au matin. Tout le Vendredy
+il demeura au lit. Le soir il soupa, et ayant bien dormi, il se leva le
+Samedi matin, dina debout, et puis joua aux eschecs. Il se leva, se mit
+a promener par sa chambre, devisant avec l'un et avec l'autre. Tant d'un
+coup il dit: 'Baillez moi ma chaise, je sens une grande faiblesse.' Il
+n'y fut assis qu'il perdit sa parole, et soudain après il rendit l'âme,
+et les marques du poison sortirent soudainement._"
+
+When Brillant was interrogated, he denied everything, but under torture
+he made admissions which greatly compromised the widow of the dead
+Condé. Subsequent versions of the story stated first that the Catholic
+party had administered the poison; and later that the Prince had died a
+death in full accordance with the malady from which he was suffering.
+Nevertheless the poor Princess had to bear the burden of this terrible
+charge. She was allowed to remain in her own apartments only until she
+gave birth to a son, who was pronounced by all who saw him to greatly
+resemble the late Prince de Condé; and the fact that Henri ultimately
+consented to become godfather to the child destroyed all false
+accusations. For many years, however, she was kept under close guard at
+Saint-Jean d'Angely; and in the archives at Thouars there still exist
+some touching letters from her to her mother and to the Constable de
+Montmorency, asserting her innocence and imploring help. She also
+describes her straitened circumstances, her allowance being quite
+insufficient to supply the needs of her children, Eleonore and Henri.
+Throughout all her trials she behaved with singular fortitude, until at
+length, when her son Henri de Bourbon was recognised as the legitimate
+son of his father, and thenceforth held the position of
+heir-presumptive, she was allowed to return to Court. De Thou even
+obtained an order directing the French Parlement to come immediately to
+Saint-Germain to salute the Prince as heir to the throne until it
+should please God to give children to the King himself. Henri IV
+displayed considerable anxiety that his heir should receive the best
+possible education, and that he should embrace the Catholic Faith, as he
+himself had done. Thus the tradition of the Princes de Condé as Huguenot
+Princes was abruptly broken; and Charlotte Catherine de la Trémoille
+also abjured the Protestant Faith with great ceremony at Rouen. She then
+endeavoured to conciliate the Catholic party, but they never forgave her
+for the great services which she had rendered Condé at Guernsey.
+
+In the preceding chapter we have related the matrimonial adventures of
+this Prince, and how when Henri IV fell passionately in love with his
+young wife, the beautiful Charlotte de Montmorency, he fled with her to
+the Netherlands to seek the protection of Eleonore, Princess of Orange,
+until the death of the King.[7]
+
+On his return he became the principal factor in opposing the government
+of Richelieu, for he was highly dissatisfied that the Regency during the
+minority of Louis XIII had not passed to him, as premier Prince of the
+Blood, but had been seized upon by the Queen-Mother before he could
+reach France. The government of Berry was given to him with one and a
+half million of francs as a sort of compensation--which, however, did
+not satisfy him. Subsequently he was accused of having designs on the
+throne, and although this was not proved, Richelieu, in the name of the
+Regent, had him arrested. He was imprisoned in the Bastille and treated
+most rigorously as a State criminal. It is greatly to the credit of his
+wife that she volunteered to share his captivity. It was most touching
+how she arrived at the Bastille accompanied by her little dwarf, who
+refused to be separated from her. A journal[8] of that time states that
+the meeting of the Princess with her unfortunate husband was most
+affectionate, and that he repentantly asked her forgiveness for past
+wrongs.
+
+Owing to his precarious state of health he was soon after removed to the
+Château of Vincennes, where he was allowed more liberty, and there he
+could take exercise on the top of a thick wall built in the form of a
+gallery. The poor Princess, once so radiant in beauty, suffered cruelly;
+and at the birth of a still-born son her life was despaired of.
+
+At last, after nearly three years of imprisonment when her little
+daughter Geneviève de Bourbon was born, their prison-walls opened and
+they were free at last.
+
+But presently Henri de Montmorency, the Princess's brother, who had but
+recently succeeded his father as Lord of Chantilly, was thrown into a
+dungeon, whence he only emerged to be guillotined later at Toulouse.
+Unfortunately he had sided with Gaston, the King's brother, in a
+conspiracy against the mighty Cardinal. In vain his wife, Marie Felice
+Orsini, pleaded for her husband. She herself was imprisoned for two
+years for doing so; and when finally released, retired for the rest of
+her life to a convent at Moulins, where she was known and much beloved
+as "Sister Marie."
+
+The whole property of the last Montmorency, the last scion of so
+illustrious a race, was confiscated after his execution, and Chantilly
+fell to the Crown. A house called _La Cabotière_, bearing to this day
+the Royal coat-of-arms, marks this transition period; and not far from
+it is the so-called _Maison de Sylvie_, which recalls Marie Felice
+Orsini. It was there that she and her husband hid the poet Théophile de
+Viau, who had been condemned to death; and from this retreat he sang in
+charming verses the beauty and the noble qualities of the Princess under
+the name of "Sylvie."
+
+These cruelties against the Montmorencys and the Condés, Louis XIII in
+after-years never ceased to regret, and when on his deathbed he wished
+to atone for them he summoned Henri II, Prince de Condé, and told him
+that Chantilly should be restored to his wife, the Princess, as sister
+of the last Montmorency. Thus Chantilly came back to its rightful
+owners.
+
+
+
+
+CHAPTER III
+
+THE GRAND CONDÉ
+
+
+With Charlotte, wife of Prince Henri II de Condé, Chantilly passed into
+the possession of the Princes of Bourbon Condé, and its history from
+that date becomes part of the history of France. The son of Charlotte,
+Louis II de Bourbon, when barely twenty-two years of age, was already
+called the "Hero," in consequence of his victory at Rocroy (1643) over
+the German and Spanish armies. This famous descendant of Huguenot
+Princes was, at the age of four years, baptized a Roman Catholic, with
+great pomp, in the Cathedral at Bourges. Both Marie de Medicis, the
+Queen-Regent, and Charlotte de la Trémoille, the Dowager Princess de
+Condé, were present; and the infant Prince, though so young, recited his
+_Credo_ without a hitch. His education was subsequently placed in the
+hands of the Jesuit Fathers at Bourges, who commended his clear
+intellect and excellent memory. He received the title of "Duc
+d'Enghien," a title which became thereafter hereditary in the Condé
+family.
+
+His father, Prince Henri II de Condé, thought it wise, after the
+execution of his brother-in-law Henri de Montmorency and his own
+imprisonment, to contract a matrimonial alliance with the all-powerful
+Cardinal; especially as Richelieu was obsessed by the desire that one of
+his nieces should become a Royal Princess. A marriage was therefore
+arranged between the twelve-year-old Duc d'Enghien and the little
+Claire-Clemence, then barely five. This _mariage de convenance_ brought
+no happiness to the parties concerned, and ended in completely crushing
+the unloved wife. In a book recently published, "_Sur la femme du Grand
+Condé_,"[9] the excellent qualities of Claire-Clemence--so little
+appreciated during her lifetime--have been set out for us. At a court
+where women were chiefly given over to pleasure and amusement, it is but
+natural that soberer qualities such as hers should have passed
+unnoticed, or even have aroused opposition. Between her brilliant
+mother-in-law, Charlotte de Montmorency, and her beautiful but vain
+sister-in-law, Geneviève de Bourbon[10] (subsequently Madame de
+Longueville), to the courtiers of her time Claire-Clemence appeared to
+be lacking both in beauty and _savoir-faire_. A fall on the very day of
+her marriage, caused by her high heels when dancing a minuet which Anne
+of Austria had opened with the Duc d'Enghien, was recorded with great
+glee by the Grande Mademoiselle, daughter of Gaston d'Orléans. The
+prospects of this new establishment were not exactly promising, since
+Claire-Clemence received no support from her parents, whom she hardly
+knew. When her uncle, the Cardinal, decided to make an instrument of her
+to serve his purposes, he took her away from her egoistical and immoral
+father, the Maréchal de Brézé, and her sickly mother, who suffered from
+transitory attacks of madness. Claire-Clemence had been educated,
+therefore, in accordance with the high station for which she was
+intended. After her marriage Richelieu watched over her welfare and
+superintended arrangements by which she and her princely husband should
+have a suitable establishment in Paris; where, it was said, the young
+couple led _un train de Prince_.
+
+Presently, however, the sharp-eyed Cardinal became aware that the Duc
+d'Enghien was neglecting his young wife, and was constantly in the
+company of the charming Marthe de Vigeau, of whom he had become wildly
+infatuated and whom he constantly met at the house of his sister. His
+Eminence, therefore, decided to send the young Duke to Burgundy, of
+which province he was supposed to be the Governor; and for
+Claire-Clemence he arranged a temporary retirement in the convent of
+Saint-Denis, there to escape the intrigues which would, as he said,
+naturally arise round a young wife so completely neglected by her
+husband. She was accompanied to the convent by a small Court, consisting
+of Madame la Princesse Douarière de Condé, Madame d'Aiguillon, Madame de
+Longueville, and Mademoiselle de la Croix. This last was her constant
+companion, and wrote to Richelieu that Her Serene Highness did
+everything in the convent which His Eminence desired her to do. In very
+truth she soon became a great favourite at Saint-Denis, where she did a
+great deal of good among the sick and poor.
+
+[Illustration: PLATE XI.
+
+THE GRAND CONDÉ.
+
+_Musée Condé._
+
+David Teniets.]
+
+Meanwhile the Duc d'Enghien, to annoy the Cardinal, led a very gay life
+in Burgundy, in obstinate defiance of the remonstrances of his father.
+Finally, he was compelled by Richelieu's orders to leave Burgundy and
+join the Minister at Narbonne. There is no doubt that the Duc d'Enghien,
+inordinately proud by nature, was suffering keenly under the tyranny of
+the haughty Cardinal, who, although wishing his nephew-in-law well,
+derived a certain amount of satisfaction from the spectacle of this
+proud-spirited young Duke submissive to his yoke. The following incident
+is an illustration of this. It was a long-accepted fact that Cardinal
+Richelieu, as Prime Minister to his Majesty the King, should claim
+precedence over the Princes of the Blood Royal. But that Mazarin, just
+created Cardinal, should on his return from Italy also have this
+privilege was--the young Duc d'Enghien thought--most improper.
+Richelieu, on hearing of this, took up the cause of Mazarin, and even
+asked d'Enghien to visit his brother, the Cardinal of Lyons. D'Enghien,
+fearing that this Cardinal would also claim precedence over him at
+Lyons, merely sent one of his attendants to salute him. Richelieu was
+furious at this, would accept no excuse, and desired the Duke to
+purge his fault at Lyons, on his way back. D'Enghien, compelled by his
+father, the Prince de Condé, to submit to Richelieu's demand, was
+greatly chagrined. Moreover, a message reached him immediately
+afterwards to join his wife at Paris, since she was ill. He was also
+informed that the details of his private life--in which he was the lover
+of many women but not the husband of the one woman who was his
+wife--were well known. So severe a reproof seemed at last to produce
+some effect upon him, and he returned to his wife, who quickly recovered
+her health and spirits when she found that her husband was kindly
+disposed towards her.
+
+Richelieu, who had watched d'Enghien since his childhood, remembered the
+distinctions he had acquired as student at Bourges, and was shrewd
+enough to see that the young man would more than fulfil the high
+expectations placed in him. He therefore knew what he was doing when he
+allied the young Condé to his own family, and selected him and Henri de
+la Tour d'Auvergne (known in history as Turenne) as Commanders-in-chief
+of the French Army.
+
+After the death of Richelieu, the King, Louis XIII, showed the high
+regard he cherished for his great minister by confirming and adhering to
+all the dispositions made by him before he passed away. Amongst these
+were the appointments of Condé and Turenne as Generals of the French
+troops sent to check the advancing forces of the Spaniards. It was a
+choice which showed the rare capacity of this remarkable minister in
+finding the right man for the right place. Turenne was thirty-one years
+of age, whilst Condé was but twenty-one. Marie de Medicis and her party
+thought Condé too young for so important a post, but Louis XIII was not
+to be dissuaded; and to Condé he gave the command of the army in
+Picardy.
+
+This war had been going on between France and Spain for more than ten
+years. It revolved around those frontier regions to the north, near the
+Somme and the Oise, which divide the original possessions of the Kings
+of France from those of the former Dukes of Burgundy; and in 1643 it was
+carried on with great ardour by the Spaniards under their General, Don
+Francisco Melo, and his lieutenants, Fountain and Beck. With them the
+Duc d'Enghien was confronted near Rocroy. On the night before the battle
+the future hero was asleep amongst his soldiers on the bare ground when
+all at once a French horseman who had taken service amongst the
+Spaniards presented himself and asked permission to speak to the
+General. In a subdued voice he told him that the Spaniards had prepared
+an attack for seven o'clock that very morning. On hearing this Condé at
+once called for his horse, his arms, and the traditional hat with the
+white plume, which, since the time of Henri IV, had become the special
+badge of a Commander-in-chief of the French Army. The Duc d'Aumale, in
+his "_Histoire des Princes de Condé_," relates with much spirit the
+issue of this battle. He tells us how Condé was at first repulsed by
+Isembourg, and then how, by a sudden change of tactics in attacking the
+rear, he reaped a complete victory.
+
+The King, tossing upon a sick-bed, was full of anxiety regarding the
+issue of this war. He had had a dream, or rather a vision, which he
+narrated to the Prince de Condé (father of the Duc d'Enghien) who sat
+near his bedside. "I have," he said in a faint voice, "seen your son
+advancing towards the enemy. The fight was sharp, and the victory was
+for a long time undecided; but at last it was ours." These are said to
+have been the last words of Louis XIII.
+
+A few days later, whilst the Requiem Mass for His Majesty was being sung
+at Saint-Denis, it became known that Louis de Bourbon, the Duc
+d'Enghien, had gained the battle of Rocroy, and from that time he bore
+the name of the "Grand Condé." The flag taken on this occasion from the
+Spaniards may still be seen at Chantilly in the gallery where paintings
+by Sauveur Lecomte record his famous deeds. It is now reckoned amongst
+the most precious trophies of France, since most of those preserved at
+the Invalides were destroyed in 1814. All Paris desired to see the
+Spanish flag taken at Rocroy, and it was therefore exhibited publicly at
+the Louvre, at Notre Dame, and on the Quai. Congratulations poured in
+upon the Condés, and the Duc d'Enghien was pointed out as the hero who
+had won the first battle for the new four-year-old King. His father,
+full of pride, wished him to return to Paris to receive the ovations of
+the people; but, like a true strategist, the Duke was anxious before all
+else to reap the advantages of his victory. In a characteristic letter
+to his father, who was urging him to come home, he explained that the
+enemy had invaded France, and that he felt that he must remain at the
+head of his regiment in order to serve his country, at least as long as
+their foes were on French soil.
+
+His next act was to attack Thionville on the Moselle, upon which
+occasion he succeeded in separating the troops commanded by Beck from
+the main army in the Netherlands, thus displaying a great example of
+military skill. It was, however, no longer from Louis XIII that he
+received his orders, but from Mazarin and the amiable but weak and
+irresolute Anne of Austria. Condé, in spite of his youth, had therefore
+to act on his own responsibility. In the spring of 1645 he won with
+Turenne the great battle of Nördlingen,[11] where he completely defeated
+the Austro-Spanish general Mercy.
+
+The Duc d'Aumale, a military man of great distinction himself, speaks of
+the three victorious battles of Rocroy, Thionville, and Nördlingen as
+most important in their results, unblemished by any sort of reverse. He
+attributes to the Grand Condé all the qualities necessary for a great
+general: foresight in his preparations and a supreme ability to vary his
+tactics according to circumstances; great boldness and sudden
+inspiration during action; prompt decision and a far-reaching political
+outlook to confirm the victory and reap its fruits. It is rare indeed to
+discover all these qualities united in one man, and to find Condé's
+equals we must look to men like Frederick the Great, Napoleon, and
+Wellington.
+
+After the battle of Nördlingen, Condé fell ill of a fever, which
+compelled him at length to return to Chantilly. His mother, the
+Princesse Charlotte de Condé, his sister Geneviève, and his wife
+Claire-Clemence, with her little son the Duc d'Albret, whom he had not
+yet seen, welcomed him home. The historical "_petite chambre_" which he
+had always occupied was made ready for him, and "_eau de Forges_" to
+fortify his impaired strength. There he was invited to repose after the
+excessive fatigues of camp-life.
+
+The attraction Condé had felt for Marthe de Vigeau when forced to marry
+the Cardinal's niece had by this time passed away; and his plans for
+divorce in order to marry the woman he had so passionately adored had
+been definitely abandoned since the birth of his son Henri Jules. But he
+could not bring himself to show any affection to Claire-Clemence, who,
+during the long absence of her husband, had retired into the Convent of
+the Carmelites. It was a marriage into which he had been forced--a fact
+that he could not get over. Meanwhile Marthe de Vigeau had burnt his
+letters; had even gone so far as to burn his portrait; and, to make the
+sacrifice complete, had taken the veil and was henceforth known as
+"Soeur Marthe" in the same Carmelite Convent. But the Court was
+teeming with intriguing women who all wished to approach the young hero,
+around whose forehead laurels were now so thickly wreathed. Strong as
+Condé was in the field, he proved weak in the hands of an intriguing
+woman. In this he resembled his ancestor Louis I de Bourbon, whose name
+he bore. It was his beautiful cousin, Isabelle de Montmorency, who
+exercised the most pernicious influence over him. She had become the
+wife of Dandelot de Coligny, who for her sake had abjured the Protestant
+Faith. Ambitious to the extreme, she strove, after the death of her
+husband, to attract Louis XIV whilst still a youth, and after vainly
+trying to marry Charles II of England, she ended by marrying the Duke of
+Mecklenburg-Schwerin.
+
+[Illustration: PLATE XII.
+
+THE VIRGIN AS PROTECTOR OF THE HUMAN RACE.
+
+Photo Giraudon.
+
+_Musée Condé._
+
+Charonton and Vilatte.]
+
+[Illustration: THE TOMB OF THE DUC AND DUCHESSE DE BRETAGNE AT NANTES.
+
+Photo Giraudon.
+
+After Designs by Perréal.]
+
+Two other well-known women also contrived to attract the Grand Condé,
+and with them he contracted a lifelong friendship. These were Louise
+Marie de Gonzague of Cleves, afterwards Queen of Poland, and her sister
+Anne, known as the Princess Palatine on account of her marriage with the
+son of the Elector Frederic V. Their portraits, by Dumoustier, can be
+seen at Chantilly. These Princesses de Gonzague, before their marriages,
+lived at Paris. Princesse Louise Marie held her Court at the Hôtel
+Nevers, a majestic building between the Tours de Nesle and the Pont
+Neuf, which afterwards became the Hôtel Conti, and is now the Palais de
+Monnaie. The two sisters were in their time leaders of Parisian society
+and played an important part amongst the women of the Fronde.
+
+A letter, one of the last that Prince Henri II de Condé wrote to his
+son, refers to the neglect with which he treated his wife, and blames
+him severely for not writing to her upon the occasion of the sudden
+death of her only brother. It runs thus: "_Mon fils, Dieu vous bénisse.
+Guérissez vous, ou il vaut mieux vous poignarder vous même, que de faire
+la vie que vous faites; je rien sais ni cause ni raison, et je prie Dieu
+de me consoler; je vous écris au désespoir, et suis Monsieur votre bon
+père et ami._" Soon afterwards the old Prince de Condé died and his last
+words and wishes were for the Duc and Duchesse d'Enghien. He, who had
+always held so high the honour of his own wife, had been a great support
+to Claire-Clemence in her trials. The title of Prince de Condé devolved
+at his father's death upon the Grand Condé, whilst the little Duc
+d'Albret bore henceforth the title of Duc d'Enghien, rendered so
+celebrated by the victor of Rocroy.
+
+But the Grand Condé did not stop here. In that same year (1648) he again
+won the great battle of Lens against the Austrians. In that battle it
+was said that he charged twelve times in one hour, took eight flags and
+thirty-eight cannon, and made 5,000 prisoners. The Emperor Ferdinand
+III, after this, felt his powers of resistance at an end and decided at
+last to agree to the Peace of Westphalia, which was signed at Münster,
+and brought to an end the famous Thirty Years' War. By it France
+acquired the whole of Alsace except Strasbourg and Philipsbourg. Liberty
+of conscience, inaugurated by Henri IV, was also recognised throughout
+the rest of the world, and perfect equality of rights was enjoined
+between Roman Catholic and Protestant.
+
+Anne of Austria received the hero of Rocroy and Lens with open arms,
+calling him her third son, and Louis XIV, the boy King, caressed him
+constantly. He felt that he was in peril, and he trusted to Condé to
+help him out of his difficulties. In order to improve finances exhausted
+by the lavish expenditure of the Court, Mazarin had committed the great
+mistake of forcing taxation upon all merchandise entering Paris.
+Parlement had refused to conform to this kind of taxation; but the
+Cardinal thought that this was the moment to again bring forward this
+claim. Upon the very day when the _Te Deum_ was sung at Notre Dame for
+the victory of Lens, he chose to assail the leaders of the Parlement,
+amongst whom was the venerable Councillor Broussel. This was the signal
+for the breaking out of the _Fronde_, and a general rising of the
+people. Paul Gondi (subsequently known as Cardinal de Retz), at that
+time Archbishop of Paris, came in full state to entreat the
+Queen-Regent to appease the people. But Anne of Austria maintained that
+this was a revolt and that the King must enforce order, upon which the
+Archbishop himself joined the insurgents and even became one of their
+leaders. At last the Queen-Regent, frightened by the triumphs of
+Cromwell in England, gave in, and Broussel was released. To her intense
+chagrin, persons of the highest aristocracy had joined the Fronde;
+amongst them the Duchesse de Longueville, the Grand Condé's own sister,
+the Duchesse de Bouillon, and others--all more or less vain women
+seeking notoriety. They endeavoured to gain Condé over to their side,
+but he resisted proudly, answering, when asked to join the Frondeurs: "I
+belong to a race that cannot identify itself with the enemies of the
+Crown." Anne of Austria thought it wiser to leave Paris, and in great
+haste departed to Saint-Germain-en-Lay--an exodus which the Grande
+Mademoiselle has described in all its picturesqueness. On account of the
+suddenness of the departure no time had been given for the necessary
+preparations, and the young King and the Princesses de Condé, Charlotte
+de Montmorency, and Claire-Clemence, had to sleep on straw--an incident
+which Louis XIV never forgot.
+
+Condé, however, blockaded Paris, overthrew the Fronde, and on the
+evening of August 18, 1649 the young King with the Queen-Regent, Condé,
+and Mazarin entered Paris and reached the Palais-Royal in safety. When
+Condé prepared to take his leave, the Queen turned to him and said,
+"Sir, the service you have rendered the State is so great that the King
+and I would be most ungrateful should ever we forget it!"
+
+
+
+
+CHAPTER IV
+
+CLAIRE-CLEMENCE, PRINCESSE DE CONDÉ
+
+
+Mazarin with difficulty restrained his impatience at numerous Royal
+favours bestowed on Condé. Indeed, whilst the latter was engaged in
+keeping the Army loyal, he agitated against him and did his utmost to
+undermine the confidence placed in him by the Queen-Regent. In this way
+the warrior and the priest soon became open adversaries. If it was hard
+for Condé to submit to the tyranny of Richelieu, still less could he put
+up with the haughty insolence of the Italian, who stood between him and
+his own Royal relations. It was natural, therefore, that he should
+become bitter and think himself insufficiently recompensed for the great
+services he had rendered to the King. All those members of the
+aristocracy who were likewise irritated against Mazarin gradually
+crowded round Condé, and he who had defeated the so-called _Old Fronde_
+now became the leader of the second, known as the _Young Fronde_.
+Mazarin, therefore, found an excuse for undermining the position of
+Condé and succeeded in making the Queen believe that the second Fronde,
+led on by Condé, was opposed to the Government. In order to counteract
+these false reports, the Prince came to the Palais-Royal to pay a
+formal visit to her Majesty, who was, however, ill in bed. His own
+mother (now the Dowager Princess), who had always been on terms of great
+intimacy with Anne of Austria, was then at her bedside. It was the last
+interview between Condé and his mother. Her Majesty seemed tired, and
+after a few words dismissed the Prince, who then proceeded to the Salle
+de Conseil, where Mazarin awaited him. There he found also his younger
+brother, Conti, and his brother-in-law, Monsieur de Longueville.
+Presently Mazarin under some pretext left the room, and no sooner had he
+gone than the captain of the Queen's body-guard, Captain Quitaut,
+entered, and making his way towards Condé and the others, said, not
+however without embarrassment, "Gentlemen, I have the Queen's orders to
+arrest you." Condé for a moment seemed thunderstruck. Was this her
+Majesty's gratitude for the victories he had gained against the enemies
+of France? Then, seeing that this arrest was intended in all
+seriousness, he addressed the group of councillors around him, saying,
+"Can you believe that I, who have always served the King so well, am now
+a prisoner?" For a space they all stood speechless. Presently someone
+offered to speak to the Queen, and all left the apartment. Then, since
+they did not return, Quitaut was compelled to carry out his orders. A
+door then was opened into a dark passage, and there appeared some of the
+King's men-at-arms. Condé, his brother Conti, and M. de Longueville
+were overcome with amazement. It was indeed true! Mazarin had
+triumphed. They were transported then and there to the donjon of
+Vincennes, that self-same prison wherein Henri II de Condé, with his
+wife the beautiful Charlotte, had been secluded for three years.
+
+The hour was past midnight when they reached the prison, and Condé found
+himself shut up in a cell whence little could be seen but a tiny patch
+of sky. He did not, however, lose his courage, and his spirit never
+seemed to forsake him, even though he was behind prison walls. One day
+he learned from the doctors who came to visit his sick brother Conti,
+that his wife Claire-Clemence was employing every effort she could to
+get him free. To while away his weary hours he took a fancy to
+cultivating flowers. "Is it not strange," he said to the doctor, "that I
+should be watering carnations, whilst my wife is fighting!"
+
+After her husband's unforeseen imprisonment, Claire-Clemence was
+permitted to join the Dowager Princesse de Condé at Chantilly, since
+Mazarin looked upon her as harmless. It was rather Condé's sister,
+Madame de Longueville, whom he feared, and whom he had intended to
+arrest with her husband. She, however, escaped in time, braving by night
+a terrible storm at sea, and joined Turenne, who helped her in her
+attempts to liberate the prisoners.
+
+Nor did Claire-Clemence remain inactive. She consulted with Lenet, a
+great friend of the Condé family, who had come to Chantilly, on what
+course to adopt to set her husband at liberty. Rumours reached her that
+she would be separated from her son, at which she was greatly alarmed.
+Taking Lenet aside, she declared to him emphatically that she would
+never be separated from her only child; but that she intended, on the
+contrary, to conduct him at the head of an army to deliver his father.
+This indomitable courage on the part of Condé's spouse was to be the
+first step in a course of action which later on contributed much to his
+eventual deliverance.
+
+Meanwhile spring had come, and, in spite of the great misfortune which
+had befallen the Grand Condé, Chantilly became the resort of a crowd of
+visitors, who flocked round its brilliant _châtelaine_, Charlotte de
+Montmorency, Dowager Princesse de Condé. The young Duc d'Enghien took
+his morning rides on his pony, anglers with rod and line repaired to the
+ponds, gay parties of pleasure-seekers roamed over the lawns and along
+the avenues, and the woods resounded with the winding of the huntsman's
+horn. In the evening the guests assembled in the splendid apartments of
+the castle to hear music, or listen to the many interesting tales
+related by the Dowager Princess, who loved above all else to dilate upon
+the attentions shown to her by Henri IV.
+
+[Illustration: PLATE XIII.
+
+CHANTILLY BEFORE 1687.]
+
+[Illustration: CHANTILLY IN THE TIME OF THE GRAND CONDE.]
+
+Soon, however, the visits to the Château of Lenet and of Madame de
+Châtillon, both of whom had played a prominent part in the Fronde, were
+reported at Court; and one day the Princesses were suddenly surprised
+by the sight of Swiss guards stationed around their dwelling, and
+Monsieur de Vauldy simultaneously arrived at the Château with special
+orders from the King himself. He first asked for the Dowager Princess
+and endeavoured to persuade her to leave Chantilly for Berry; which,
+however, she flatly declined to do. In despair, the envoy, who had
+orders from the King not to show force, then asked to see the Princesse
+Claire-Clemence. On being conducted into a bedchamber, a lady lying in
+bed was pointed out to him as the Princesse de Condé; and he was told
+that she was suffering from so severe a cold that she could not possibly
+leave Chantilly at once. Furthermore a child, also suffering in the same
+way, was shown to him as the young Duc d'Enghien. These persons were,
+however, in reality an English governess and the gardener's son, for the
+Princess herself, with her son in her arms, had made good her escape by
+a pathway that had by chance been left unguarded. Some of her ladies and
+gentlemen followed her at a distance until she safely reached a spot in
+the woods where she found a carriage, which had been kept always ready
+for emergencies. In this conveyance, after a fatiguing journey, she
+reached Montroux, an old country-seat of the Condés, where the hero of
+Rocroy had passed his early youth. Thence she wrote to the Queen,
+stating that she had undertaken this journey to show obedience to the
+Royal commands, since she had been desired to leave Chantilly. Anne of
+Austria took this communication good-humouredly enough, and admired the
+pluck of the young mother, whilst everybody was amused at Vauldy's
+discomfiture. At Montroux the Princess soon found herself surrounded by
+friends and partisans; and she succeeded in arousing enthusiasm by her
+easy and natural method of expression in speaking, which, upon occasions
+of importance, could rise to flights of real eloquence.
+
+In order to be of service to the State and to the Prince, she decided to
+push on in the company of Lenet and Coligny to Bordeaux, whence the Duc
+de Bouillon came out to meet her. The Princess, mounted on a splendid
+charger named "_Le Brézé_," which had come from her father's stables,
+was received with Royal honours by Turenne, who defrayed all her
+expenses and those of her escort as far as Bordeaux.
+
+Claire-Clemence and her supporters now decided to attack Mazarin openly
+for having imprisoned the Princes, but the Cardinal, getting wind of it,
+ordered the gates of Bordeaux to be shut in her face. The people of the
+city, however, revolted against such an injustice and opened the gates
+by force, crying, "_Vive le Roi, et point de Mazarin_." It may be
+remarked here that the citizens of Bordeaux had every reason to be
+grateful to Condé for his kindness to them when, upon a previous
+occasion, they had revolted against their hated Governor, the Duc
+d'Epéron. The Princesse de Condé decided to approach the city by water,
+and as soon as her ship came in sight, it was saluted by a cannonade
+from eighty vessels, whilst more than twenty thousand people welcomed
+her at the landing-stage. The streets were adorned with flowers, and
+public enthusiasm was so great that she was compelled to show herself on
+the balcony of her palace until midnight to receive the ovations of the
+populace.
+
+In order to secure the support of the Bordeaulese, Claire-Clemence
+resolved to present her petition before their Parlement in person. With
+great spirit, therefore, she made her way to the Chamber of the
+Councillors, accompanied by her son. "I come to demand justice of the
+King against the violence of Mazarin," she said imploringly, "and I
+place my person and that of my son in your hands." At the same time the
+little Duke, dropping on one knee, cried out: "Gentlemen, I implore you
+to assume the place of a father to me; since the Cardinal has deprived
+me of my own." The whole assembly was deeply touched, and after some
+deliberation, the members of the Parlement agreed to extend to her their
+protection to the suppliants.
+
+It would be superfluous to pursue here in full detail all the efforts
+made by Claire-Clemence at Bordeaux on behalf of her husband. The chief
+difficulty now was, however, that Mazarin, having treated Condé with
+such injustice and violence, was afraid to set him free; and he
+therefore even went so far as to entertain ideas of destroying him
+altogether. The Court, meanwhile, in spite of the events which were
+taking place at Bordeaux, had removed the Princes from the fortress of
+Vincennes to a prison at Havre; and at the same time ordered the
+Princess to leave Bordeaux and retire to Montroux. After distributing
+handsome gifts to all those who had befriended her, she departed with a
+numerous cortège, amid a shower of flowers; and on hearing that the
+Queen was at Bourg-sur-Mer, sought an interview with her. With her
+little son beside her, she fell upon her knees before Anne and begged
+for her husband's freedom. Her Majesty's answer was: "I am very glad, my
+cousin, that you at length recognise that you adopted a wrong course by
+which to get what you so intensely desire. But now that you seem to take
+another more fitting and more humble attitude I will see whether I can
+satisfy your request."
+
+To the united efforts of Claire-Clemence and of Condé's devoted friend
+Lenet, there was also now added the powerful help of Anne de Gonzague,
+Princess Palatine, whose influence extended from Paris to Warsaw and
+even to Stockholm. She persuaded no less a person than Queen Christina
+of Sweden to plead for the Grand Condé's liberty. Moreover, her sister,
+Marie de Gonzague, Queen of Poland, who had never ceased to be the
+hero's devoted friend, also came to his aid with considerable effect.
+
+Meanwhile France was rent by civil war, and Anne of Austria began to
+regret the loss of Condé's strong arm, which had done so much for her
+infant son, Louis XIV. The disorder, in fact, became so great and the
+clamour for Condé's liberation so imperative, that Mazarin was compelled
+to proceed to Havre with an order under the Queen-Regent's sign-manual
+for his unconditional release. The Cardinal entered the cell wherein the
+Princes were confined in his travelling attire and himself announced to
+them that their captivity was at an end. Whereupon compliments were
+exchanged and healths drunk; Mazarin even privately affirming to Condé
+that it was not to him that he owed his long imprisonment. A carriage
+was in waiting for the liberated prisoners, and Mazarin, taking his
+leave of them, bowed so low as to create unbounded mirth amongst those
+present. Then he himself departed into exile; whence, however, it was
+not very long ere he returned.
+
+All Paris turned out to welcome Condé, and no less than 5,000 cavaliers,
+the flower of the French aristocracy, went out to meet the Princes at
+Saint-Denis. They were conducted by Gaston d'Orléans to the
+Palais-Royal, where they were received by the Queen-Regent and the young
+King, who welcomed them with his accustomed warmth, as if nothing had
+occurred. In the evening a supper was given in their honour by Monsieur
+the King's uncle, and a ball by the Duchesse de Chevreuse. Next day a
+solemn session of the Parlement took place, and for several nights Paris
+was brilliantly illuminated.
+
+The young Princesse de Condé came from Montroux, accompanied by the Ducs
+de Bouillon and de Rochefoucauld, and the Prince, who appreciated to the
+full all that she had done for him, endeavoured to show his gratitude.
+He met her with a train of twenty carriages to accompany her entry into
+Paris; and nothing could have touched the Princess's heart more
+profoundly than to hear the crowds along the road repeat: "_Voici une
+femme fort chèrie de son mari_." It testified to the sympathy held by
+the public for this long-neglected wife.
+
+From Paris the reunited pair proceeded to Chantilly, where festivities
+and hunting-parties followed fast one upon another. Condé, however, felt
+bound to claim a certain amount of recompense for the great wrong which
+had been done to him. He demanded for himself the Governments of
+Burgundy and Champagne, besides other rewards for his friends de
+Rochefoucauld and Nemours. At first the Queen-Regent promised
+everything, but presently, upon the remonstrance of the exiled Mazarin,
+went back on her word.
+
+This was sufficient to enrage Condé once more, and a report spread that
+amid the rural charms of Chantilly he had opened negotiations with
+Spain. Gondi, Archbishop of Paris, anxious to obtain a scarlet hat for
+himself, went secretly to the Queen, and knowing that Her Majesty was
+lamenting Mazarin's absence, promised her that he and Gaston d'Orléans
+would bring the Cardinal back from exile if Condé were once more
+arrested. Condé, although his freedom was so recent, felt insecure and
+retired with his wife and son to Saint-Maur, where Madame de Longueville
+joined them; so that he was not present when Louis XIV was proclaimed
+King, but was holding council with his adherents at Chantilly. "_Il faut
+pousser M. le Prince_" was a stock saying of Mazarin and Gondi (now
+Cardinal de Retz), both of whom were endeavouring to goad Condé to his
+own destruction.
+
+Louis II de Bourbon, Prince de Condé, along with his many great
+qualities, had unfortunately inherited also all the faults of the
+Condés--faults which the Duchesse de Nemours (daughter-in-law of his
+sister, Madame de Longueville) describes as follows: "_Ils avaient des
+airs si moqueurs, et disaient des choses si offensentes que personne ne
+les pouvaient souffrir ... quand on leurs déplaisait ils poussaient les
+gens jusqu'a la dernière extremité, et ils n'etaient capable d'aucune
+reconnaissance pour les services qu'on leurs avait rendu_." These were
+the qualities which at this period of his life turned the scale against
+him. It was not against France or the King that Condé proposed to fight,
+but against the Italian Cardinal, the trusted confidant of Anne of
+Austria; and his grievance was that he had not only been deprived of his
+liberty, but that attempts had even been made upon his life. It was for
+that reason that Condé did not take part in any of the festive
+celebrations held at the King's Proclamation, and he made his excuses
+in a letter presented to the King by his brother, the Prince de Conti.
+This was unquestionably a great blunder, and was done against his wife's
+wishes, who had given such great proofs of devotion and courage.
+
+On September 13, 1651 Condé retired to Montroux, where his sister,
+Madame de Longueville, and the leaders of his party triumphed over his
+last scruples. It was then that he pronounced the famous words: "_Vous
+me forcez à tirer l'epée,--eh bien! soit! mais souvenez vous que je
+serai le dernier à la remettre dans le fourreau_."
+
+
+
+
+CHAPTER V
+
+CONDÉ'S ALLIANCE WITH SPAIN
+
+
+Condé's alliance with Spain against Mazarin was the immediate cause of
+another civil war in France. The Prince left his wife and son in
+Bordeaux, where, as we have said, they had already acquired much
+personal popularity. The history of this town and of its Parlement is of
+considerable interest. In 1653 the people of Bordeaux sent envoys to
+England to inquire into the details of the Revolution under Cromwell;
+whereby we may note what strong Liberal tendencies had already
+manifested themselves in this place, even at the beginning of the reign
+of Louis XIII. More than once the townspeople had shown a spirit of
+rebellion against the Government, and they had espoused, as we have
+seen, the cause of the Princes against Mazarin during the second Fronde.
+When the Princesse de Condé returned thither with her husband, she
+found, to her surprise, that a Republican spirit had developed amongst
+her former friends, and that they wished to see in Condé an ally rather
+than a chief. Nor did Condé, although a Prince of the Blood, and well
+known for his pride of birth, object to signing a Declaration before the
+Parlement of Bordeaux, whereby he promised not to lay down his arms
+until he had obtained for his country the following concession, namely:
+"That the supreme authority should in future be given to a
+representative of the people, chosen by free men, who were of age and
+entitled to the vote."
+
+Mazarin, at the head of a small army, had joined the King at Poitiers,
+whilst the city of Paris, left under the command of Gaston d'Orléans and
+the Paris Parlement, declared Condé guilty of high treason. On hearing
+this the Prince made a desperate effort to reach Paris, and with the
+help of the Grande Mademoiselle (Gaston's notorious daughter), who
+boldly opened the gates to him, he entered the town with his troops at
+the Faubourg Saint-Antoine, making himself for a moment master of the
+situation. Unfortunately, however, the bloodshed which took place on
+this occasion rendered his cause most unpopular, and, finding himself
+abandoned by the populace, he was soon obliged to retreat before
+Turenne. Whereupon the young King, accompanied by Mazarin, re-entered
+the capital and succeeded in controlling it.
+
+Bordeaux meanwhile continued to assert itself as a Republic. There were
+two parties fighting against one another--the rich _bourgeoisie_
+struggling against the lower classes. Claire-Clemence, who was still
+resident amongst them, strove to make peace between these two parties,
+but in the middle of it all her health broke down and she was obliged to
+retire, leaving to Condé's brother Conti and to his sister, Madame de
+Longueville, the task of managing public affairs. On hearing, however,
+that the _Chapeau-Rouge_ party,--that is to say, the rich
+_bourgeoisie_,--had actually opened fire upon their rivals, she again
+made her appearance, accompanied by Lenet and Ormée, the head of the
+popular party and succeeded in bringing about a peaceful settlement.
+
+Shortly after this, on September 20, 1652, the Princesse de Condé gave
+birth to another son, to whom was given the name of Louis Bordeaux. The
+whole city was decorated to celebrate this auspicious event; and there
+still exists in the archives at Chantilly a letter of Condé's, wherein
+he writes as follows: "_J'ai une extrême joie de l'accouchement de ma
+femme; elle serait parfaite si elle se portait bien, et si j'étais
+assuré son enfant dût vivre_."
+
+Unfortunately, however, Claire-Clemence found herself unable to recover
+her former strength, and it was terrible news for her that her husband,
+alone and bereft of his adherents, had left Paris and had even accepted
+the post of General-in-Chief in the Spanish army. She had stood beside
+him in his fight against Mazarin and a treacherous and faithless Court;
+but Richelieu's niece could not get over the fact that the "Hero of
+Rocroy" had actually gone over to the enemy. To fill her cup of
+tribulation Condé found himself in terrible financial difficulties since
+he had to feed his own troops whilst receiving insufficient support from
+his allies, the Spaniards, who were themselves unable to offer him
+material aid. In despair he wrote to Lenet: "Have my silver and plate
+melted down, and tell my wife to pawn her jewellery. She will, I am
+sure, not object, nor will my sister refuse to do the same. Borrow
+wherever you can, and do not hesitate to pay high interest. I am so much
+in want of money that I do not know what to do.... Sell everything, even
+to my landed property."
+
+This was certainly bitter news for the wife of the Grand Condé, and, at
+the same time, she endured the heavy sorrow of losing her infant son,
+Louis Bordeaux. In order to provide her husband with necessary material
+help she ordered her own mode of living with strictest economy and
+reduced her household. But Madame de Longueville and Conti, realising
+that their brother was engaged in a hopeless cause, presently left
+Bordeaux; and the latter, becoming reconciled with Mazarin, not long
+after married one of his nieces.
+
+[Illustration: PLATE XIV.
+
+ANTOINE DE BOURGOGNE, CALLED _LE GRAND BÂTARD_.
+
+_Photo. Braun & Co._
+
+_Musée Condé._
+
+Memling.]
+
+A general amnesty was now offered to the people of Bordeaux if they
+would surrender to the King. To this they agreed; and a passport was
+granted to enable the Princesse de Condé to retire with her son wherever
+she might choose. Claire-Clemence, for a moment, was undecided whether
+to join her husband or to go to Flanders. She chose the latter course.
+She had to part, however, with her elder--now her only--son, the Duc
+d'Enghien, whose education was committed into the hands of the Jesuits
+at Antwerp. Broken in health and spirits, she left for Valenciennes,
+accompanied only by her secretary, the faithful Lenet, and a small
+suite. Nor was the news which she received from her husband of a nature
+to restore her health. The success which had hitherto always accompanied
+him when fighting for his country seemed to have entirely abandoned him
+since he raised his sword against France. Accused of high treason,
+abandoned with insufficient resources to meet his liabilities, and
+frequently prone upon a bed of sickness, we cannot but admire the man
+who succeeded in facing such terrible trials. More than once he had to
+rectify grave errors committed by the Spanish generals, even by Don Juan
+of Austria himself, who was regarded in Spain as a conquering hero.
+
+Mazarin, having succeeded in putting down the civil war, could now turn
+his attention to the struggle with Spain; and at length the two armies
+faced one another on the Dunes, near Dunkirk. The Spaniards were led by
+Condé, the French by Turenne. The hero of Rocroy, so famous for his own
+strategic powers, as he surveyed the two armies, was struck by the
+excellent dispositions of Turenne. Addressing himself to a young
+Englishman who was in his camp, he said, "Have you ever seen how a
+battle is lost?" "No," answered the youth. "Well, in less than half an
+hour you will see such an event," was Condé's grave response. His
+prediction was verified; and Dunkirk was captured by the French,
+although Condé, with great skill, succeeded in limiting the extent of
+his rival's victory.
+
+The result of this battle was the famous "Peace of the Pyrenees,"
+signed at Münster on November 7, 1659 by Mazarin and Louis de Haros,
+minister of Philip IV. Amongst the more particular clauses of this Peace
+was a marriage contract, arranged between Louis XIV and the Infanta
+Maria Theresa, which had far-reaching consequences. Another stipulation
+made by Spain was that Condé should be allowed to return to France, and
+be reinstated in all his rights as a Prince of the Blood. His implacable
+enemy Mazarin opposed this at first, but through the prayers of his wife
+and his sister Geneviève de Bourbon the Grand Condé was finally allowed
+to return home. After having exercised so pernicious an influence over
+her brother during the second Fronde, and after having brought upon him
+so many disasters, Geneviève, on the death of her husband, the Duc de
+Longueville, turned her attention to religion, and retired to the
+convent at Moulins, where the widowed Marie Felice, last Duchesse de
+Montmorency, still mourned her dead spouse.
+
+Condé's letters, whereby he promised fidelity to the King and engaged to
+live on good terms with the Cardinal, preceded him. Madame de
+Longueville had, moreover, made great preparations for her brother's
+return to Court; whilst Conti, who, as already mentioned, had meantime
+married one of Mazarin's nieces, arranged the first meeting between the
+Prince and the powerful Minister. He was welcomed by the Queen, and
+presented his respects to the King; and on the following day the
+_Gazette de France_ announced that he had dined with His Eminence
+Cardinal Mazarin.
+
+That Condé was truly sorry for having raised his sword against his own
+country, is proved by the following remark: "When Mazarin had me
+imprisoned, I was innocent; but I came out of prison the most culpable
+of men."
+
+From Paris the Prince went straight to his residence at Saint-Maur to
+meet Turenne, who appeared at first embarrassed on seeing him. Condé,
+however, at once addressed his rival in a most friendly manner, and
+asked his advice regarding the repatriation of his soldiers, many of
+whom were Swiss and Germans who declined to enter the French army.
+
+When presently Louis XIV made his entry into Paris the Prince de Condé
+and the Duc d'Enghien appeared amongst the Royal retinue, whilst the
+Princesse de Condé sat in the State coach with the Queen.
+
+Yet, although established once more as a Prince of the Blood, with all
+the prerogatives and appurtenances of his rank--even his Government of
+Burgundy--many years had still to pass before Condé could regain the
+entire confidence of the King. Nor did Mazarin ever cease to distrust
+him. And when, before his death, the Minister presented him with a
+valuable diamond ring, assuring him of his sincere friendship, it was
+merely a proof of his own power of dissimulation; for, with his last
+breath, he warned the King to protect his crown from the insatiable
+ambition of the Grand Condé.
+
+If Condé had hoped to play a prominent part in the public affairs of
+France after the death of Mazarin, he was mistaken; for the young King,
+himself full of ambition, announced at the outset that he meant
+henceforth to rule alone. In accordance with his famous saying "_L'Etat
+c'est moi_" Louis now began to reign himself.
+
+For Condé retirement from public life had come too early. His sword
+which had rendered such great services to France was no longer needed;
+and he therefore retired to his Château at Chantilly. Here he almost
+immediately began to make extensive restorations, the completion of
+which occupied over twenty years, and greatly changed the aspect of the
+old place, so long abandoned and unoccupied. The financial difficulties
+in which he found himself on his return were happily overcome by
+Gourville, who acted energetically as his agent. The celebrated Le Nôtre
+was called in to lay out the gardens; the vast grounds were converted
+into parks, interspersed by the charming pieces of water which still
+exist. With great ingenuity a channel was dug to receive the waters of
+the streamlet Nonette, an affluent of the Oise, and a hydraulic machine
+invented by Condé himself--who was as skilled an engineer as he was a
+soldier--was constructed by Le Manse, under whom all these wonderful
+waterworks were kept in order. The courtyard which forms the present
+entrance to the Château dates from that time.
+
+Letters have come down to us in which Condé expresses to Le Nôtre the
+highest satisfaction with his work. The latter was quite overcome by the
+Prince's appreciation, and replied to him: "_Jamais l'Honneur que je
+receu d'embraser nostre Saint Pere, le pape, et de baiser sa mule ne m'a
+fait tant de bien ny donne tant de joie que celle que je ressenty par la
+bonté que vous avez eu de me donner le benefice que votre Altesse a
+refusé a tant de testes couronnees.... Je continueray a eslever mes
+pensées pour l'embellissement de vos parterres, fontaines, cascades de
+vostre grand jardin de Chantilly._"
+
+In 1684 Mansart was entrusted with the entire transformation of the
+interior of the Petit Château; the first floor being arranged for the
+use of the Grand Condé, whilst the ground floor was reserved for his
+son, the Duc d'Enghien. The exterior of this exquisite building was
+fortunately left intact, and has remained unchanged since the time of
+Anne de Montmorency. Nor has the interior changed since Mansart's
+alterations. When the visitor passes through these apartments to-day, he
+can feel that they are in the same state as when the Grand Condé dwelt
+there. The Grand Cabinet with its exquisite Beauvais tapestry, its
+Boulle table, and its Louis XVI consoles and lustres, and the Petit
+Cabinet where the victor of Rocroy came to rest from his labours, still
+exist, to recall their former owner. In an adjacent apartment we may
+admire a fine piece of furniture, companion to the famous Louis XV
+bureau in the Louvre, upon which is placed the Grand Condé's own
+despatch-box. Then there is the Long Gallery, where the painter Sauveur
+Lecomte has illustrated, under the hero's own directions, all his
+victories from the battles of Rocroy, Nördlingen, and Fribourg to the
+conquest of the Franche Comté, and the campaign and passage of the
+Rhine.
+
+Mansart, once installed at Chantilly, did not leave it for many years.
+He unfortunately attempted to tamper with the old feudal castle of the
+Orgemonts and the mediæval architecture which combined so well with
+Montmorency's Petit Château, creating an inordinately lofty building,
+with a straight line of innumerable windows and attics all precisely
+similar in form. It was this structure which was razed to the ground at
+the time of the Revolution, and which was reconstructed in a far more
+suitable style by the late Duc d'Aumale.
+
+
+
+
+CHAPTER VI
+
+FESTIVITIES AT CHANTILLY
+
+
+Since there was no prospect for Condé to take any prominent lead in the
+affairs of his own country his name was proposed as a possible successor
+to the throne of Poland. He declined, however, to accept a crown which
+had been the cause of so much misery to King Wladislav IV and to his
+brother Jean Casimir. There being no heir-apparent to that throne the
+eyes of Marie de Gonzague, Queen of Poland, turned upon the Duc
+d'Enghien, Condé's only surviving son, and it was in connection with
+this idea that a marriage was arranged between Henri Jules de Bourbon
+and Anne of Bavaria, eldest daughter of the Princess Palatine, sister to
+the Polish Queen. Claire-Clemence was not over-pleased at the idea of
+this marriage, since she did not share her husband's ambitions. The
+uneasy throne of Poland for her only son was a proposal which she could
+not face with equanimity.
+
+The union that she would have preferred was one with Mademoiselle
+d'Alençon, youngest daughter of Gaston d'Orléans, a Princess whom Henri
+Jules often saw and greatly admired, for the Orléans family at that time
+lived in the sumptuous Palais d'Orléans, not far from the Palais Condé,
+which was built on the site now occupied by the Odéon Théâtre. But the
+Princess could not prevail upon her masterful husband, who had not only
+taken his son's education, but also his entire future, into his own
+hands. The brave lady, who had played so important a part during the
+Fronde, and had shown so much courage and determination under her many
+difficulties and trials, had at this time completely broken down in
+health. She only appeared at Court festivities at long intervals, and
+although she was present at her son's marriage she did not join the
+young couple at Chantilly. The Grand Condé, surrounding himself with
+friends, lived there from choice; and there Anne de Gonzague paid him
+frequent visits, whilst Claire-Clemence was left neglected in Paris.
+Society soon followed suit; and such neglect and isolation told upon a
+constitution naturally delicate. This Princess, once so full of
+admiration for her hero, now began to cherish resentment against him;
+and she who for long years had, in spite of his neglect, never uttered
+one word of complaint, at last broke out into bitter recrimination. We
+gather from Condé's letters that she suffered from violent fits of
+passion, and that a secret fear lest he should make away with her became
+more and more a fixed idea. It is said, however, that when she appeared
+at the baptism of the Dauphin her attitude was full of dignity and
+commanded involuntary respect. Two years after this an unfortunate
+incident happened, never entirely explained, which reduced
+Claire-Clemence to imprisonment for the rest of her life. Condé had
+compelled her to dismiss a page, named Duval, who had been in her
+service. She had, however, promised him a pension which it seems was
+left unpaid. One day, whilst the rest of the servants were at their
+meals, he penetrated into the Princess's apartments to beg for his
+pension. His voice was heard by the page on duty in the next room, who
+at once entered the chamber in order to protect Her Highness from his
+importunities. A violent quarrel arose between the two men, and the
+Princess, in her endeavours to separate them, was severely wounded. When
+the rest of the servants, on hearing the noise, rushed into the
+apartment, Her Highness was found unconscious on the floor. This was the
+version put about in Paris; but Condé, on being informed of it, was
+beside himself with rage, and caused Duval to be arrested and condemned
+to the gallows.
+
+Condé, so magnanimous alike to friends and enemies, in this instance
+behaved most brutally to his wife, and availed himself of this
+opportunity to get rid of her. Instead of defending her against a
+scandal which increased day by day from its very mystery, he himself
+heaped calumny upon her. He immediately left Chantilly for Paris, and
+without visiting the Princess his wife, went straight to Louis XIV and
+demanded a _lettre de cachet_ against her. The King, however, with
+greater humanity, refused his request; upon which Condé returned to
+Chantilly in great wrath and contrived another scheme. He concocted a
+document under which the Princess consented to transfer all her property
+to her son during her lifetime; which deed he persuaded the Duke to
+present to his mother for signature. There was, however, a clause under
+which Her Highness was to retain a right of disposal over her jewels. By
+this scheme he proposed to induce her to retire altogether from the
+world without offering any defence.
+
+Abandoned by her husband, robbed by her own son--who actually did
+persuade her to sign the above-mentioned instrument--the unfortunate
+Princess found herself no longer the courageous woman that she once had
+been. Instead of rebutting the wicked calumnies which attacked her
+honour, she merely endeavoured to save the unworthy Duval from the
+guillotine--a wretch who, under torture, uttered confessions
+compromising the Princess, which were, however, considered by the
+Parlement as inconclusive. Condé, furious with his wife as the cause of
+all this scandal, again demanded of Louis XIV a _lettre de cachet_ and
+this time secured it. Her very generosity on behalf of the accused Duval
+was employed as a pretext for separation; and crushed and broken in
+health and spirits, she was transported one morning to the fortress of
+Châteauroux. In the presence of her son, the Duc d'Enghien, she said to
+the _curé_ of Saint-Sulpice, who was her confessor: "This is the last
+time that I shall be able to talk to you, for I shall never return from
+the place where the King is pleased to send me. Nevertheless the
+confession which I have made to you will always prove my innocence."
+Embracing her son for the last time, she fainted away; and in that state
+she was conveyed to the carriage which was to transport her to the
+distant castle of Châteauroux, where she was to be buried for the
+remainder of her life. No news of the outer world ever reached her, and
+even her only child never visited her. This barbarous treatment, this
+cruel seclusion, brought on hallucinations, during which it is said that
+she was haunted by the image of her husband. Châteauroux, a gloomy
+fortress with numerous towers, inspired her with terror; and there were
+even rumours that she was ill-treated by her gaolers. Madame de
+Longueville was the only member of the Condé family who showed any pity
+for this poor, forlorn woman, and she expressed a wish to visit her; but
+Condé, unrelenting, refused her permission. He sent, however, Père
+Tixier to ascertain whether she had all she needed, who reported that
+she seemed to be in constant terror lest the food offered to her might
+contain poison. Through many long years she dragged on a sad life in
+this cruel solitude; and not even the news of her husband's death, whom
+she outlived by several years, reached her. Unrelenting to the last,
+Condé is said to have written on his death-bed a private letter to Louis
+XIV, desiring him as a favour never to release Claire-Clemence. When at
+last death delivered her, she was buried in the little church of St.
+Martin, within the precincts of Châteauroux. Only a few Franciscan monks
+and some poor people of the neighbourhood, whom out of her own scanty
+resources she had continually assisted, attended at her funeral. Neither
+her son nor any of her relations were present. When, in 1793, this
+little church was restored, her remains were thrown to the winds, and
+not one of her descendants took the trouble to raise a protest. More
+than a century had to pass before even one voice was raised in defence
+of this cruelly wronged woman. Louis Joseph de Bourbon, the father of
+the last Condé, in his _Biography_ of his famous ancestor, could not
+refrain from a severe condemnation of the cruelty with which the "Hero"
+had treated the wife who had shown so much courage and loyalty on his
+behalf.
+
+The noble-minded Duc d'Aumale, in his _History of the Princes de Condé_,
+is also full of sympathy and appreciation for poor Claire-Clemence;
+although he endeavours to excuse the great Condé's conduct towards her
+by explaining the repugnance he must have felt for Richelieu's niece.
+
+A curious circumstance which seems still further to enhance the tragic
+fate which befell Claire-Clemence is the indifference shown to her by
+her own nearest relatives. At the very time when she was pining away in
+the fortress of Châteauroux, not only her husband but her son also seems
+to have felt no pity nor care for her. At Chantilly, where Anne de
+Gonzague reigned supreme, festivity followed festivity, and it was she
+who received the crowds of guests who thronged to visit that delectable
+resort.
+
+       *       *       *       *       *
+
+The visits to Fontainebleau, where, after the death of the Regent, the
+King so often shut himself up for hours together, are described as being
+very tame compared with those to Chantilly, where the time passed far
+more agreeably. Turenne and the Maréchal de Grammont were frequently
+invited. Also such celebrated men of letters as Boileau, Racine,
+Corneille, La Fontaine, and Molière found their way thither; for Condé
+took a great personal interest in their works, and helped and encouraged
+them considerably. Boileau was a specially welcome guest at Chantilly.
+Once, however, during an animated conversation with the Prince, he
+contradicted him in some statement; but noticing an angry look upon His
+Highness's countenance, he became alarmed, and, making a profound bow,
+said: "_Je serais toujours de l'avis de M. le Prince, surtout quand il
+aura tort_"--a piece of tact which was much appreciated by his host, and
+disarmed his anger. Condé was also the first to recognise the greatness
+of Molière, and to protect him from his rivals. The _Precieuses
+Ridicules_ were first acted at Chantilly, and the players were lodged
+there for over a week. When Louis XIV fell so passionately in love with
+Madame de Montespan, Molière wrote his poem _Amphitryon_, wherein he
+advises husbands to offer to Jupiter a share of their nuptial love--a
+work which he dedicated to the Prince de Condé. It was Boileau who
+brought Racine to Chantilly, and his tragedies were often performed
+there. Moreover, the Court itself paid prolonged visits to the Grand
+Condé, and thither thronged all the most distinguished personages in
+Europe. Madame de Sévigné, in her famous _Letters_, describes the
+"_delices_" of Chantilly; and descriptions of festive gatherings of all
+kinds held there are frequently to be found throughout the records of
+the period. The _Gazette_ devoted many columns to details regarding
+pleasure and hunting parties and lunches at the Maison de Sylvie.
+
+In the month of April 1671 Chantilly opened its portals to receive Louis
+XIV and his bride, the Infanta Maria Theresa. The Château itself was
+reserved for the Royal party, whilst the courtiers and the officers of
+the suite were lodged throughout the neighbouring villages. Sixty tables
+were served three times a day; and it was during this Royal visit that
+Vatel, the _maître d'hôtel_, whose skill directed the whole, suddenly
+committed suicide because he was unable to provide the necessary fish on
+a fast-day. He was greatly mourned, especially by his master; but a
+substitute was soon found, who succeeded even better than his
+predecessor, so far eclipsing him, in fact, that his loss was soon
+forgotten.
+
+Louis XIV was so charmed with this visit that he is said to have been
+inspired by Chantilly to create Versailles. "_Mon cousin_" he jokingly
+said to Condé when leaving, "_il faut que vous me cédiez Chantilly_." To
+which Condé promptly replied, "_Chantilly est aux ordres du roi.
+J'espère que sa majesté me nommera son concierge._"
+
+
+
+
+CHAPTER VII
+
+THE GRAND CONDÉ A WARRIOR ONCE MORE
+
+
+Shortly after this memorable visit of the Court to Chantilly the Prince
+de Condé was summoned by the King to Paris to give his opinion upon a
+possible conquest of Holland. The truth was that the youthful monarch,
+thirsting for military glory, had but recently uttered the celebrated
+statement that the only way to conquer the Spanish Netherlands was to
+subdue and annihilate the Dutch.
+
+Upon the death of Philip IV of Spain the French King had immediately
+asserted the Flemish rights of his wife Maria Theresa, daughter of the
+late King of Spain by his first wife. According to the ancient Statutes
+of Brabant there was no doubt about her title to this inheritance, but,
+since the long-drawn-out negotiations regarding it led to nothing, Louis
+XIV suddenly declared war. His Majesty had not forgotten Condé's
+successes at Rocroy, Nördlingen and Lens, and his admiration for the
+Prince's skill in strategy and geography was unbounded. In the
+exuberance of his imagination he even contemplated, with the aid of so
+great a hero, the subjugation of the whole of Europe.
+
+It was in this spirit that Louis, accompanied by Turenne, marched into
+Flanders, and made Lille a French town; whilst Condé once more
+surprised the world by his conquest of the whole of Franche-Comté in
+less than a month. England, Holland, and Sweden, terrified at the young
+King's ambition and the success of the French arms, promptly entered
+into a Triple Alliance, which arrested the conquering hero in full
+career and brought about the Peace of Aix-la-Chapelle, whereby he was
+forced to be content with Flanders alone. But such terms were scarcely
+calculated to satisfy the ambitions of either the King, his generals, or
+the French nation. Hostilities were therefore soon resumed. With an army
+of thirteen thousand men commanded by Condé and Turenne Louis advanced
+on Holland. He crossed the Rhine, devastating and conquering everything
+before him. No less than ninety-five towns and villages capitulated in
+ten days. Holland, conscious of her inability to resist, begged for
+peace, but the French, encouraged by their successes, refused to lend an
+ear to her entreaties.
+
+It was then that William of Orange conceived the daring plan of
+submerging the whole of Holland by piercing the dykes. In this way the
+French were brought up short in their destructive course by an
+inundation which lasted over two years. Louis, obliged by these
+circumstances to postpone for a time the conquest of Holland, retired to
+Saint-Germain and left to Turenne the arduous task of remaining with the
+army. Condé, meanwhile, led the advance-guard with a rapidity which in
+less than nine days made him master of six strong fortresses on the
+Rhine; and it apparently only remained for him to cross the Yssel to
+where the young Prince of Orange was stationed. Once more he displayed
+remarkable military strategy in crossing this river at a point where he
+was unexpected: and two Dutch regiments ordered to oppose him were cut
+to pieces by overwhelming numbers, so that the French troops there and
+then crossed the Rhine without hindrance. Montbas, the Dutch General,
+accused of treason, was supplanted at the last moment by de Wirty, in
+order to shield William of Orange himself, who recognized his mistake
+too late.
+
+This easy victory, however, was marred by an event which proved most
+unfortunate in its consequences. When the French squadrons had reached
+the opposite bank of the river Condé, with his son and his nephew, the
+Duc de Longueville, also crossed immediately in a boat, followed by
+their men and horses. The Princes, on landing, promptly threw themselves
+into their saddles, and riding ahead fell in with a small body of Dutch
+soldiers, who begged for mercy. The young Duc de Longueville, without
+waiting for the decision of his chief, cried out: "_Pas de quartier_,"
+and fired off his pistol. The Dutch promptly replied with a volley, one
+shot of which struck de Longueville and mortally wounded him, whilst
+another seriously injured Condé himself. The Prince and his dead nephew
+were immediately transported to a fisherman's hut. By a strange
+coincidence, the mourners were met by the Ambassador of Poland, who had
+come to offer the crown of the Jagellons--refused by Condé for his own
+son--to the unfortunate young Duke.
+
+Condé's wound changed the course of the whole campaign, since it
+incapacitated him at the supreme moment when he might have reaped the
+full advantages of his victory. The wound healed but slowly, and his
+son, Henri Jules, could not replace him at the head of his troops. Time
+lost to the French was time gained by William of Orange, who, as has
+been said, conceived the heroic plan of inundating Holland, whereby the
+French military operations became impossible. The auspicious moment for
+invading Holland being thus lost, Condé travelled slowly back to
+Chantilly, where he found a much-needed rest, and by degrees recovered
+his health.
+
+On his way back he had an interview at Port Royal with his sister, the
+Duchesse de Longueville, who, on hearing of her bereavement, gave way to
+long but silent grief; and, retiring from the world, passed her days in
+prayer and fasting for the repose of the soul of her dead son.
+Subsequently she became a devout Jansenist.
+
+Louis' ambitious plans to conquer Europe, frustrated for the moment, had
+now roused Spain, Denmark, and some of the German Princes to take up
+arms to prevent possible renewed attacks upon their territories; and two
+great soldiers came forward to keep guard upon the Rhine: William of
+Brandenburg (a hero himself and ancestor of heroes), and Montecucoli (so
+named after his feudal castle), who took the command of the Imperial
+troops. Condé, hardly yet recovered, was summoned by his sovereign, and
+was requested once more to operate in the Netherlands. William of Orange
+began by attacking the French army at Senef, and in spite of the
+"_fougue_" of Condé the battle remained undecided. Turenne, meanwhile,
+was manoeuvring on the Rhine against Montecucoli, who was marching on
+Alsace; he succeeded in repulsing the Imperial troops near the Neckar,
+taking Heidelberg and Mannheim, and forcing his way into the Palatinate.
+Suddenly, however, he had to change his tactics owing to the unexpected
+appearance of the Margrave of Brandenburg; and the French commander's
+plans terminated in a campaign in Alsace, where he was victorious at
+Mulhouse and Schletstadt. In that same year he was also confronted by
+Montecucoli, and unfortunately met his death at Salzbach before any
+decisive battle had been fought. His loss was a severe blow to his
+soldiers. Condé was immediately sent for; and, inspired by the memory of
+the dead general, followed his tactics, and succeeded without a single
+battle in driving the Imperial troops back across the Rhine. This was
+precisely what the King and his minister, Louvois, desired; for
+Montecucoli was thus shut out of Alsace, and obliged to take up his
+winter-quarters on the far side of the Rhine. By these brilliant
+operations Condé preserved Turenne's army, and terminated this great
+campaign, in which were engaged three of the most celebrated generals of
+the period: Montecucoli, the profound strategist, the sagacious Turenne,
+and the great Condé, who in the cause of France was always victorious.
+
+These were his last exploits, and he returned to Chantilly, there to
+pass a life of peaceful quiet until his death in 1687. Madame de
+Sévigné, who was repeatedly invited to the Château, says in her
+_Letters_ that Condé was quite admirable in his retreat, from which he
+only emerged occasionally to pay a visit to the King at Fontainebleau,
+Paris, or Versailles, where a splendid suite of apartments was always
+reserved for him. Chantilly at that time became a small Court in itself.
+Not only was it a resort for kings, princes, ambassadors, generals, and
+statesmen, who never omitted to pay their respects to the Grand Condé,
+but it was also a rallying-place for the most distinguished literary and
+scientific men of the day. Here Bossuet, Fénelon, and the philosopher
+Malebranche, the poets Corneille, Racine, and Molière discussed their
+works and their theories in that avenue in the park which to this day
+bears the name of "the Philosophers."
+
+The newest books and publications passed their first public ordeal at
+Chantilly; and at the theatrical representations which frequently took
+place there, the greatest actors of the day produced famous plays, or
+made their _début_. The Prince kept a special company of comedians in
+his own pay at Rouen for practice, so anxious was he that they should
+perform at Chantilly to the utmost perfection; and he himself
+distributed to them their various parts.
+
+His interest in scientific discoveries was also very great, and he
+studied all the latest books upon these subjects. The humorous letters
+addressed to him upon such matters by that fantastic personage Bourdelot
+still exist. The famous waterworks at Chantilly, imitated later at
+Versailles, were to a great extent, as we have already remarked, planned
+and carried out according to his own designs. Nor was he lacking in
+artistic interest, for he made important additions to the collection of
+manuscripts founded by his ancestors, the Montmorencys; and during his
+stay in Holland he collected many Dutch pictures and some fine
+furniture, which may still be seen in his own rooms at the Petit
+Château. For him Charles Le Brun and Mignard worked assiduously, and
+some of the paintings by Paul Veronese, Guido, Guercino, the Carraccis,
+Van Dyck, and Antonio Moro which now adorn the walls of the Musée Condé
+were acquired by him.
+
+His passion for the chase was notorious; and hunting and hawking in the
+woods of Chantilly were amongst his greatest pleasures. He revived the
+art of hawking, introduced into Europe from Arabia by the Crusaders, and
+he is said to have taken particular interest in his own hawks,
+conferring upon each of them individual names.
+
+[Illustration: PLATE XV.
+
+_Photo. Giraudon._
+
+Molière. By Miguard. Musée Condé.]
+
+In concluding these notices on the life and character of the Grand
+Condé, we must not forget to mark a trait in his character which has
+perhaps not been hitherto so generally acknowledged: namely, a feeling
+that he owed it to family tradition to protect the Huguenots. When
+therefore Louis XIV revoked the Edict of Nantes, and thereby caused an
+exodus of some of the best amongst his subjects, Condé, wherever it was
+possible, protected the persecuted Protestants; and Chantilly itself
+became a shelter for Huguenot fugitives.
+
+Disappointed in his own son, Henri Jules de Bourbon--a man devoid of all
+ability, whose chief aim was to follow the Dauphin's hounds--Condé in
+his old age attempted to take in hand the education of his grandson, the
+young Duc de Bourbon, and of his favourite nephew, François, Prince de
+Conti, left orphaned by the early death of his father. By these means he
+hoped to restore the glory of the race: for François de Conti had
+displayed military talent and great valour during the famous day of
+Steinkerque, where two horses were killed under him, and where he
+contributed greatly to the victory achieved by French arms. For the
+benefit of these two young men, Condé invited to Chantilly La Bruyère,
+who had been introduced to him by Bossuet, and engaged him to undertake
+their education. But the Duke, like his father, was too much attracted
+by the Court of Louis XIV. At a very early age his father arranged an
+alliance for him with Mademoiselle de Nantes, a daughter of the King by
+Madame de Montespan, and contemporary chronicles are filled with
+references to this child-marriage, which was celebrated with the
+greatest pomp; the bride being but thirteen and the bride-groom
+seventeen years of age. After the nuptials, the two children took their
+places in a state bed, supported on either side by their respective
+mothers: but as soon as festivities were over they were separated and
+only permitted to see each other in the presence of their relations. The
+new Duchesse de Bourbon was extremely handsome; but her husband was
+rather small and of an unamiable disposition. His shortcomings were,
+however, compensated for by the brilliant valour which he displayed at a
+subsequent period.
+
+Bossuet himself was prevailed upon to give instruction to the young
+Duke. This famous prelate was always greatly admired by the Grand Condé.
+Upon one occasion we are told that he entered the Church of the Minimes,
+when the great philosopher happened to be preaching. Bossuet, who was
+arguing upon the vanity of the glories of this world to which Condé had
+sacrificed so much, suddenly perceived the hero among the audience.
+Whereupon, with his customary skill, on the spur of the moment he
+introduced an appropriate compliment by pointing out how the Prince de
+Condé, after having been so long the ornament of his century, was now
+also endeavouring to attain Eternal Life--an immortality more lasting
+than that which worldly fame affords.
+
+In early life Condé had been a member of a society of free-thinkers, to
+which the Princesses Marie and Anne de Gonzague had also belonged. He
+had studied Spinoza, and had approved of his pantheistic doctrines;
+then, gradually leaving Spinoza, he took up Descartes. Later the example
+of his sister, Madame de Longueville--who, from leading a worldly life,
+had become a pious Jansenist--made a deep impression upon him: as did
+also the death of Anne de Gonzague, who, after a life of wildest
+excitement, had before her end become a sincere and devout penitent. In
+his old age he often sought the company of a friend of his early youth
+and college-days at Bourges, who had distinguished himself as a
+brilliant orator. Shortly before his death, in company with this friend,
+Condé went to receive the Holy Communion at his parish church of
+Saint-Sulpice; and on leaving was met by the plaudits of the people of
+Paris. His own adherence to the Catholic Faith did not, however, change
+his friendly attitude towards the Huguenots, nor did it alter in any way
+his mode of living at Chantilly. Madame de Langeron at that time did the
+honours of his house, and the freedom of thought which reigned there so
+much appreciated by men like La Bruyère and Bossuet, was never
+interfered with. Saint-Évremond sang Condé's praise in the following
+characteristic verses:
+
+    _À ta vertu, Condé, tu t'es enfin soumis_
+    _Tu n'étais pas encore au comble de ta gloire,_
+    _Senef, Lens, Fribourg et Nordlingen et Rocroi_
+    _N'étaient que des degrés pour monter jusqu'à toi._
+    _Le vainqueur s'est vaincu, c'est la grande victoire._
+
+           *       *       *       *       *
+
+                     _Tranquil et glorieux,_
+    _Il vit à Chantilly comme on vit aux cieux._
+
+Bossuet has described the last moments of the hero: "Such as he was in
+his warrior days, resolute, quiet, always occupied, without anxiety for
+what had to be done, such was he in his last hour. Nor did death seem to
+him any more repulsive or terrible now than in the midst of battle and
+victory."
+
+Whilst his family and friends shed copious tears as his end approached,
+he continued to give all necessary orders; and he remembered everyone,
+from the highest to the lowest of his friends and attendants, showering
+gifts upon them all with a munificence fully in accordance with his high
+rank and generous heart.
+
+
+
+
+CHAPTER VIII
+
+THE LAST CONDÉS
+
+
+When Henri Jules de Bourbon succeeded to the Condé inheritance, he
+continued with filial piety to carry out all the improvements and
+additions to Chantilly which his father had planned. François Mansart,
+the most fashionable architect of the period, had by that time nearly
+completed those unfortunate alterations which transformed the ancient
+feudal fortress into a species of Versailles. This Prince also built the
+parish church on a site presented by the Grand Condé to the inhabitants
+of the hamlet which had begun to form itself around the castle. He
+completed the menagerie and by his orders Mansart built an orangery
+ending in a pavilion called by him _Le Pavillon d'Oronthée_. Statues of
+the Grand Condé, of Bossuet, of Molière, of Le Nôtre, and of La Bruyère,
+executed by the most famous sculptors of the day, were placed along the
+Terrasse du Connétable; whilst marble copies of celebrated antiques were
+set up in the gardens and park. He spoke of Chantilly as "_ses delices_"
+and was never weary of planning improvements there. He also directed
+that the famous deeds of his father should be recorded on canvas by
+Sauveur Lecomte in accordance with directions left by that hero himself.
+
+In 1688 the Prince de Condé entertained at Chantilly the Grand Dauphin,
+only son of Louis XIV, with whom he was on terms of great intimacy; and
+the apartments in the Petit Château occupied by that Prince were those
+once inhabited by the Grand Condé himself. A description of the
+entertainments given upon this occasion may be read in the _Mercure de
+France_ of that year, as follows: "A great _battue_ had been arranged,
+and the Dauphin appears to have been delighted by the enjoyment of such
+splendid sport. Luncheon was served on a big stone table in the middle
+of the forest.[12] On the centre of the table was placed a basket
+containing the most exquisite fruit, and during the repast mythological
+deities made their appearance whilst dances were performed to the sound
+of appropriate music. Every day--and the Dauphin remained for
+seven--some new diversion was contrived."
+
+As Henri Jules de Condé grew older he seldom left Chantilly. His temper
+became more and more violent and difficult; and during his last years he
+rarely appeared at Court. He died in 1709, leaving a legacy to the
+Hospital at Chantilly, which had been founded by his grandmother,
+Charlotte de Montmorency.
+
+The Duc de Bourbon, generally known as Louis III, Prince de Condé, died
+soon after his father. Louise Françoise, his wife, had presented him
+with six daughters and three sons; of whom the eldest, Louis Henri,
+succeeded to the title of Prince de Condé at the early age of
+eighteen.[13] He, like his predecessors, also spent great sums on the
+embellishment of Chantilly. By him were built the great stables--a
+monument unique of its kind--in which vast buildings more than two
+hundred horses and packs of hounds for fox, deer, and boar hunts, were
+housed. In the adjoining courtyards were lodged their numerous
+attendants--_piqueurs_, _chasseurs_, and stable-boys--and the carriages,
+coaches, etc., needed for such an establishment. The central cupola of
+this stupendous edifice was originally adorned with a statue of _La
+Renommée_, but this was destroyed by a cannon-ball during the Revolution
+of 1792.
+
+The famous Duchesse de Berry, daughter of the Regent and wife of the
+younger grandson of Louis XIV, passed a whole week at Chantilly as the
+guest of this Prince; and great magnificence was displayed for her
+entertainment. Saint-Simon in his _Mémoires_ relates an incident which
+happened during these festivities. On the farther side of the grand
+canal the Duke kept a very beautiful menagerie, full of rare animals and
+fine birds; and whilst the company were strolling about and playing
+games in the grounds a huge tiger escaped and prowled about the gardens
+to the terror of the gay revellers. After some time, however, and
+fortunately before any accident had occurred, the beast was captured and
+induced to return to his cage.
+
+In consequence of the numerous royal visits paid to him, Louis Henri
+entirely remodelled the interior of the Grand Château. The King's
+Apartment was over the Museum; it extended from the Chapel to the
+so-called North Tower, and was composed of guard-rooms, long galleries,
+and vast chambers. That of the Queen was over the present Entrance-Hall,
+and ran as far as the Treasury towers. From it one could penetrate into
+the Chapel, which at that time was situated where is now the splendid
+staircase leading to the Museum.
+
+During the time of this Prince the youthful Louis XV came to Chantilly
+from Reims. He arrived in the evening and the whole place was
+beautifully illuminated--so much so that "every detail of the building
+could be seen as if in broad daylight." The festivities on this occasion
+were many and various. The chase during the day and in the evening
+performances by an Italian comedy company engaged for the occasion, and
+by a famous ballet which lasted four-and-twenty hours.
+
+In 1723, after the death of the Regent, the Duc de Bourbon became Prime
+Minister of France. His wife, Anne Marie de Bourbon, had died and his
+mistress, the famous Marquise de Prie, reigned supreme--an even more
+fascinating, and certainly a more intelligent woman than the Montespans,
+Pompadours, and Du Barrys, who so completely succeeded in captivating
+the Bourbon Kings. She possessed a beautiful voice, with which she
+interpreted Italian music, learnt during her stay in Turin where her
+husband for many years had been ambassador. She also, like Madame de
+Pompadour, patronised art and had portraits of herself painted by
+Rosalba and Vanloo. Her house was furnished with exquisite taste, and
+she understood to perfection the arts of the toilet. At first she
+devoted herself to a life of pleasure, but she soon saw the wisdom of
+becoming her lover's adviser-in-chief. In order to shield him against
+the intrigues of the Orleans family--as long as the King remained
+unmarried and without a nearer heir--she persuaded the Prime Minister
+that the Spanish Infanta, daughter of Philip V, who had been educated at
+the French Court and was intended to be the future Queen-Consort of
+France--though she was still a child of not much more than ten years
+old--should be sent back to her father. When this had been accomplished
+a marriage was speedily arranged with Maria Leczinska of Poland,
+although she was several years older than the young King. This act led
+to an immediate rupture with Spain and brought no political advantage to
+France. But in order to understand to the full the game played here by
+Madame de Prie, we should note that Maria Leczinska had been at first
+intended for Monsieur le Duc; wherefore by making her Queen of France
+she not only hoped to keep her lover to herself, but also to get
+ascendancy over the King through a queen whom she had helped to raise to
+so exalted a position. Somewhat unexpectedly, however, she found an
+implacable enemy in Cardinal Fleury, who was to Louis XV what Richelieu
+and Mazarin had been to his predecessors. He had been the young King's
+preceptor and exercised a great influence over him. When it occurred to
+Fleury that he might become Prime Minister in place of the Duc de
+Bourbon the latter, notwithstanding the strenuous efforts of Madame de
+Prie, was compelled to yield and to resign on the charge that he had
+confided affairs of State to unqualified persons. He retired to
+Chantilly with his mistress, where, the lady received a most
+discourteous welcome from Madame la Duchesse Douarière; and to the grief
+and dismay of the Duke a _lettre de cachet_ from the King presently
+commanded her to retire to a property in Normandy which belonged to her
+long-neglected husband. The Duc de Bourbon never ceased to regret her,
+because, as he asserted, he felt that she was so devoted to his
+interests as to have subordinated every other sentiment. She only
+survived her humiliation a few years; but it was some time after her
+death before the childless Duke thought of remarrying. His choice fell
+upon a young princess of Hesse Rhinfeld, whose eldest sister had married
+the King of Sardinia. The new Duchess, who was barely fifteen, was as
+beautiful and graceful as she was good. This marriage put an end to the
+disgrace into which the Duke had fallen at Court; and from that time
+Louis XV, who very much admired the young _châtelaine_ of Chantilly,
+never went to Compiègne without paying her a visit on the way. In memory
+of these Royal visits he sent her a beautiful spray of diamonds, which
+the Duc de Luignes in his _Mémoires_ values at seventy-two thousand
+francs. The same writer adds that in the month of August 1738 the King
+came to Chantilly for a stag-hunt; and that he arrived at the Château in
+a gondola, accompanied by four Court ladies. The Duke and Duchess
+received this gay party and supper was immediately served, but next
+morning the heat was so excessive that the stag-hunt had to be
+abandoned. At nine o'clock, however, His Majesty promenaded upon the
+terrace, while airs from well-known operas were sung to amuse him. The
+Queen, Maria Leczinska, also enjoyed strolling about the gardens and
+driving through the park, where all sorts of games were specially
+devised for her.
+
+In 1740 the Duc de Bourbon fell ill and died rather suddenly. His young
+wife survived him barely a year; and their only son, Louis Joseph, then
+but five years of age, was left to the charge of his grandmother. She
+presented him soon after to Louis XV as Prince de Condé, and it was then
+remarked that he was very fair and tall for his age. His uncle, the
+Comte de Charolais, meantime administered the property at Chantilly
+with great judgment and skill on behalf of his nephew and ward.
+
+The young Prince was taken to Chantilly by his uncle for the first time
+at the age of fourteen, and all sorts of amusements suitable for his age
+were prepared for his pleasure. He at once conceived a great affection
+for the place, which continued for the rest of his life.
+
+When he attained the age of seventeen his uncle Charolais considered it
+time for him to marry, and proposed to him several suitable matches. At
+one of the entertainments given to further this end the young Prince's
+choice fell on Charlotte de Rohan Soubise, a young lady renowned for her
+grace and beauty; and their marriage was celebrated at Versailles with
+great pomp. The young couple passed their honeymoon at Chantilly and,
+according to the chronicles of the old Château, they immediately
+commenced to display the traditional Condé taste for profuse
+hospitality. Balls, theatricals, garden-fêtes, etc., followed each other
+in quick succession for six weeks.
+
+[Illustration: PLATE XVI.
+
+CHARLOTTE, PRINCESSE DE CONDÉ, WIFE OF LOUIS JOSEPH DE BOURBON.
+
+_Musée Condé._
+
+Jean M. Nattier.]
+
+In 1756 their son and heir was born. At first he was known as the Duc
+d'Enghien but this was afterwards changed to Duc de Bourbon. The second
+child was a daughter, Louise de Condé, subsequently famed for her great
+intelligence and beauty. The Princess Charlotte de Soubise was a general
+favourite at Court; but in spite of her many social engagements she
+never neglected her maternal duties and always showed herself a most
+devoted wife and mother.
+
+The Prince, notwithstanding his domestic felicity, considered it his
+duty to add a "sprig of laurel" to the trophies of his glorious
+ancestor, the Grand Condé. He therefore joined the army and greatly
+distinguished himself during the Seven Years' War. In 1762 he gained the
+victories of Grinningen and Johannesberg.
+
+The sudden death of his wife the Princesse de Condé from an attack of
+diphtheria put an end to his conjugal happiness; but to Chantilly he
+always returned after his campaigns, so as to be in the old home and
+with his children. A highly cultured gentleman, he took intense interest
+in literature and scientific research, enriching with numerous volumes
+the library of the Château and adding thereto mineralogical and
+physiological collections of great value.
+
+His only son, Louis Henri Joseph de Bourbon, when just fifteen was
+affianced to Louise Marie Thérèse Bathilde d'Orléans, five years his
+senior and an intimate friend of his sister Louise. Even in those days
+of early marriages this union was considered abnormal, and it was at
+first arranged that the young couple should wait for a time. But the
+youthful pair threatened to elope unless they were allowed to marry that
+same year, so with "_un éclat de rire_" the King gave his consent.
+
+When Marie Antoinette as Dauphine visited Chantilly the grace and charm
+of the young Duchess, who presided over the brilliant fêtes given upon
+that occasion, were much admired. Louis Joseph, like the Grand Condé,
+was passionately devoted to the art of the stage, and his
+daughter-in-law, like so many great ladies of her time, was
+distinguished for her literary talents. She herself composed the
+comedies in which she, her husband, and her Royal guests took part.
+
+The theatre at Chantilly, celebrated for its elaborate decorations and
+beautiful scenery, was approached by a terrace adorned by forty-eight
+marble vases; whence a double staircase led through the Salon d'Apollon.
+Palm-trees formed an avenue before its entrance, and the back of the
+theatre opened upon the garden, where a statue of Diana surrounded by
+waterfalls stood in the background. Amongst the improvements in the
+gardens first introduced by this Prince was a "_Hameau_," which was
+erected long before that in the Petit Trianon at Versailles.
+
+From the time of Henri IV Chantilly, as we have seen, had been a
+favourite pleasure-resort for Royal personages. Louis XV used to combine
+excursions thither with his visits to Versailles. The King of Denmark,
+the hereditary Prince of Prussia, and Gustavus III, King of Sweden, were
+all entertained at the Château; and the latter presented to the Prince
+de Condé the magnificent cabinet containing many strange and curious
+minerals now at the Musée Condé.
+
+In 1782 the Comte du Nord, afterwards the Emperor Paul of Russia, with
+his wife, Dorothea of Wurtemberg, paid a long visit to Chantilly. One
+of the Russian ladies-in-waiting, the Baroness Oberkirch, gives the
+following description of their stay: "We joined the Prince at eleven
+o'clock, which was the dinner-hour. This dinner, which opened the fêtes
+of the day--we were a hundred and fifty at table--was splendid, and
+quite in accordance with the traditions of this princely house, so
+famous for its magnificent hospitality. When we left the dining-hall we
+found carriages waiting for us. The Prince and the Duke, his son,
+themselves drove us along the avenues, where a thousand surprises were
+prepared for us. The trees were hung with flags and decorated with the
+Russian colours. After the drive we went to the theatre. They played
+_The Friend of the House_, _The Supposed Poet_, and _The
+Fifteen-year-old Lover_. The latter piece told the love-story of the Duc
+and Duchesse de Bourbon and had been played on the eve of their wedding.
+It ended with a fine ballet. On coming out we found the gardens
+illuminated and fireworks blazing all round, while the façade of the
+Château was decorated with the heraldic bearings of the Emperor and
+Empress. Supper was served on the _Isle d'Amour_ and then followed a
+ball which was so gay and full of merriment that it seemed to us a quite
+exceptional thing, since this is not usually the case amongst princes.
+The next morning a hunting-party was arranged, a diversion of which the
+Condé princes and princesses are particularly fond. A stag was hunted
+for three hours, and when at last he went into the water he was followed
+by the whole pack of hounds. The sight was really superb."
+
+A picture representing this famous hunting-party was painted by Le Paon
+and presented to the Russian Emperor. It still hangs in one of the
+Imperial Palaces in St. Petersburg; but a copy was offered to the Duc
+d'Aumale by the Grand Duke Wladimir, which is now in the Musée Condé.
+
+Another day the magnificent stables were visited and dinner was served
+in the central hall beneath the cupola. Much admiration was expressed
+for the gorgeous hangings which divided this part of the building from
+the rest. When the Royal party left the table these hangings were lifted
+on both sides, so as to exhibit the two hundred and forty horses stabled
+in either wing.
+
+At that time two bronze horses stood beside the great fountain, which
+was completed in 1782. But they disappeared during the Revolution.
+
+The hostess upon this occasion was the Princesse Louise de Condé, for
+the Duchesse de Bourbon, after but a few years of married life,
+separated herself from her gay young husband. This Princess inherited
+her father's great qualities. She had been educated in the same convent
+where a relation of hers, Henriette de Bourbon Condé, was Abbess under
+the name of Madame de Vermandois--a lady of whom it was rumoured that
+she had refused to marry Louis XV and had preferred the life of a
+convent to that of Queen of France! Over the young Princesse de Condé
+she exercised great influence and Princesse Louise tells us that she
+looked upon her as a mother, since she had never known her own. Of her
+father she saw very little; but in her childhood he used to send the
+Surveyor of the Province to her every Sunday to ask whether she wanted
+anything. At the age of twelve she left this peaceful life for Paris,
+where she attached herself to her cousin Princesse Bathilde d'Orléans,
+who presently became her sister-in-law.
+
+These two Princesses had each a royal household of their own, with
+maids-of-honour and attendants; and they were permitted to receive the
+visits of relations and certain selected friends. The Duc de Bourbon,
+whose attachment to his sister was the one redeeming point in his
+otherwise unsatisfactory character, often came to see her, and it was
+during one of these visits that he first met his wife.
+
+The Princesse Louise de Condé at this time was presented at Court, where
+her beauty and grace created a great sensation; and she then received
+the title of "Mademoiselle." The Duc d'Artois, third son of the Grand
+Dauphin, was greatly attracted by her, and a marriage between them was
+much discussed in Court circles. It was even said that it was desired by
+the people; but Louis XV, wishing to revenge himself upon Louis Joseph
+for having opposed the "_pacte de famine_,"[14] insisted on his
+grandson marrying Marie Thérèse of Savoy. This bitter disappointment,
+coming to her in yet tender years, made a deep impression upon the
+Princess, and from thenceforth she preferred solitude to worldly
+pleasure. She continued to reside in the Convent, refusing all other
+proposals of marriage, and devoting herself to literature. Later on in
+life she indulged in a platonic friendship with the Marquis de
+Gervaisais, who is said to have collaborated with her in the drama of
+_Friendman_. They often made excursions together from the watering-place
+of Bourbon d'Archambault, where the Princess had gone for her health, to
+visit the old Château de Bourbon; and it was during these excursions,
+amid ruins clad with ivy "as with a Royal mantle," that the young poet
+wrote this drama (subsequently acted at Bourbon d'Archambault), wherein
+he hymned the praises of his adored Princess. "_L'âme n'a pas d'âge,
+comme elle n'a pas de sexe_" wrote her admirer.
+
+But Louise de Condé, who at first had given herself up entirely to the
+joy of meeting with a kindred soul, recoiled suddenly on finding that
+this friendship was on both sides fast approaching passionate love. At a
+period of history when princely personages rarely denied themselves
+anything that attracted their fancy, it is remarkable to find a Princess
+who held such a high moral standard, and this also at a time when Madame
+du Barry was the supreme ruler of the Kingdom of France. The Princess
+went so far as to force herself to give up this friendship, because she
+became aware that her sentiments towards the poet were after all not
+wholly platonic, and that she, as a Princess of the Blood, could not
+marry him.
+
+It is characteristic of the customs of the period that Louis Joseph
+looked very indulgently upon his daughter's friendship, and even
+proposed to secure for the Marquis de Gervaisais means for leaving his
+regiment at Saumur in order to come to Paris and thus be able to meet
+the Princess more freely. It was the lady herself who could not be
+induced to do aught that might bring a stain upon her name; and she
+wrote a most touching letter of farewell to Gervaisais, imploring him
+not to answer it, nor to try to meet her again, requests which his
+unbounded love for her induced him to accede to.
+
+The festivities given in honour of the Russian Grand Duke were the last
+of the entertainments held at Chantilly; for, although the Princesse
+Louise in the absence of the Duchesse de Bourbon made a charming
+hostess, the separation of her brother from his wife, who had returned
+to her own family, cast an inevitable gloom over Chantilly. The young
+heir, the Duc d'Enghien, however, became warmly attached to his aunt,
+who acted as a mother to him. He was highly gifted and very proud of his
+famous ancestor, the Grand Condé. On taking his seat in the Parlement at
+the early age of sixteen he made a most able speech; whereupon the
+President remarked that never before had three members of the Condé
+family honoured the House of Peers at the same time. This, alas! was
+not for long; for we now approach that fateful year 1789, and the
+horrors of the French Revolution.
+
+In July of that year, late in the evening, an adjutant of the Prince de
+Condé arrived breathless at the Château, bringing tidings of the
+terrible events which had just occurred in Paris. He told how a bullet
+aimed at the Royal carriage had killed a woman standing near; and how
+the King had been applauded when he appeared on the balcony bearing a
+"_cocarde tricolore_." On hearing this, the three Princes de Condé
+accompanied by Princess Louise departed next day for Versailles. Their
+advice to Louis XVI was "not to yield"--advice which the King was loth
+to follow. The three Condés, seeing that they could not prevail upon him
+to remain firm, determined to quit France so as to be able themselves to
+remain true to their Royalist principles. In taking leave of the King,
+Louis Joseph said that he would endeavour to serve the Monarchy abroad,
+since he could no longer serve it in France.
+
+[Illustration: PLATE XVII.
+
+LOUIS JOSEPH DE BOURBON, PRINCE DE CONDE.
+
+_Musée Condé._
+
+Madame de Tott.]
+
+The three Princes returned to Chantilly for one day only, and then left
+France for Germany. The youngest, the Duc d'Enghien, was destined never
+to see his ancestral home again. It must have been a touching spectacle
+to see the old Prince de Condé, accompanied by his daughter, his son the
+Duc de Bourbon, and his grandson the Duc d'Enghien, leaving the
+sumptuous abode of their ancestors, so full of glorious memories. The
+Comte d'Artois--afterwards Charles X--followed their example; and
+numerous French officers volunteered to make common cause with Prince
+Louis Joseph de Condé, whose name was associated so closely with the
+glories of France.
+
+There still exists a history of Condé's army written by Bittard des
+Portes, wherein is related in detail the courage and fortitude with
+which these French _emigrés_ endured their great privations. The
+Austrian General Würsmer, we are told, was deeply moved at the sight of
+Condé's regiment, which he styled "_la vielle France militaire_"; and
+Napoleon, in his _Memoirs_, when speaking of the Condés and their army
+abroad, wrote: "_La France donna la mort à leur action, mais des larmes
+à leur courage. Tout dévoûment est héroïque_."
+
+
+
+
+CHAPTER IX
+
+CHANTILLY DURING THE FRENCH REVOLUTION
+
+
+No sooner had Chantilly been deserted by its owners than a detachment of
+the National Guard of Paris was sent down to the Château. The
+twenty-seven cannons were first seized: then all the arms found were
+taken away; and finally the whole property was confiscated. Next a band
+of six hundred soldiers arrived, devastated the place, and removed what
+they pleased. Fortunately, the art-treasures did not attract them, as is
+proved by the _Inventory_ made in 1793 of the pictures and furniture
+then at Chantilly--a document which took forty days and cost 2,130
+francs to draw up.
+
+Throughout the period of the Revolution the Château at Chantilly was
+used as a prison for political offenders; and the first arrivals were
+forty-one persons from Beauvais,[15] amongst whom were M. des Courtils
+de Merlemont, Knight of St. Louis, with his wife and son. On the road
+thither they were deliberately exposed to the insults of the mob, but
+they escaped the execution which they anticipated. Arriving at two
+o'clock in the morning, they were thrust into the Chapel, but later on
+they were lodged in the Château itself, which had been already
+demolished to such a degree that none of the rooms were wind or weather
+tight.
+
+The moats had been allowed to dry up, so that they began to exhale
+unwholesome odours; and the number of sick persons amongst the prisoners
+soon amounted to over three hundred. The corpse of a young woman, who
+was the first to die, was transported on the back of the concierge to
+one of the still-existing chapels on the Pelouse built by Madeleine de
+Savoie, wife of Anne de Montmorency. Amongst the prisoners was the
+Duchesse de Duras, daughter of Philippe de Noailles, who had defended to
+the last the person of Louis XVI, and who, in consequence, ended his
+life on the scaffold. In some notes descriptive of her misfortunes, her
+arrival at Chantilly is most dramatically related: "We were first locked
+up in the chapel, which was still elaborately gilded, and where in the
+days of the Condés I had often heard Mass. It was now filled with sacks
+of flour, on one of which I took my seat, whilst the Commissioner
+mounted upon the altar. He was accompanied by one Marchand, whom I
+recognised as the son of my aunt's chambermaid. This vulgar man
+concentrated all the insolence of the Committee of Public Safety. He
+derived much pleasure from saying rude and insulting things regarding
+the nobles and the clergy, and even expressed a wish that I should be
+lodged as uncomfortably as possible." Fortunately he departed soon
+after this speech and the Commissioner, more humane, apportioned to the
+Duchess one of the better rooms. From her window she could see into the
+courtyard, and she descried many of her acquaintances amongst the
+prisoners and their children there assembled. She describes the food as
+scanty and of very poor quality. They dined in the gallery, where she
+could remember the brilliant fêtes given by Prince Louis Joseph de Condé
+not so long before.
+
+The death-rate amongst the prisoners, to whom even the most necessary
+relief was denied, after a few months became so great that Chantilly had
+to be entirely evacuated; and it was then proposed that it should be
+used as a military hospital--a proposal which was, however, not carried
+out. Subsequently the Château d'Enghien[16] was converted into barracks,
+whilst Chantilly with its woods and parks found purchasers amongst the
+Black Band, who were then buying up the castles and palaces of the hated
+aristocrats with the sole purpose of demolishing them and profiting by
+just what could be got out of them as building material, etc. Of the
+so-called Grand Château, erected by Mansart during the time of the Grand
+Condé, nothing remained but the foundations; for it was razed entirely
+to the ground. The adjoining Petit Château of the Montmorencys, however,
+as already stated, miraculously escaped.
+
+Under Napoleon I, Chantilly in 1805 became the property of the State,
+but the revenue of its woods was assigned to Queen Hortense, who also
+figures upon the list of the owners of this famous estate. A military
+school was presently established in the Château d'Enghien, and the
+magnificent stables were once again devoted to their proper uses.
+
+Meanwhile Prince Louis Joseph de Condé since he left France had
+sojourned with the Elector at Worms, as Commander of the army of the
+French _emigrés_, whilst the Comte d'Artois had formed his camp at
+Coblenz. The former subsequently found a refuge for his family and his
+regiment with the Tsar Paul; but eventually, when he saw that he could
+no longer serve France and his King, he retired with his son to Wanstead
+House, near Wimbledon. Over the doorway of this most attractive abode
+the Seigneur of Chantilly inscribed the motto "_Parva domus magna
+quies_."
+
+Here he married as his second wife Marie Catherine de Brignole, the
+widowed Princess of Monaco, who had long been his constant and faithful
+friend, especially during his exile. She shared with him his literary
+and artistic interests, and she put her whole fortune at his disposition
+when he was in need. His daughter, Louise de Condé, after many
+vicissitudes, at last found quiet and rest in a Benedictine convent,
+where she took the veil. In 1807 she received a terrible shock when the
+news reached her of the tragic death of her beloved nephew, the Duc
+d'Enghien, and she felt it to be her duty to leave her seclusion and
+proceed at once to condole with her father and brother in their
+overwhelming sorrow. She started immediately for England, where she was
+received on landing with Royal honours: Pitt, Lord Moore, and the two
+surviving Condé Princes coming to meet her.
+
+The execution of the Duc d'Enghien has left a stain on Napoleon's
+character; it was not only a crime, but what was worse, it was a
+blunder; for d'Enghien at the time of his arrest was living in strictest
+seclusion at Ettenheim in Baden with the Princesse Charlotte de Rohan,
+to whom he was deeply attached, and, it was said, had married. He was
+therefore absolutely innocent of the conspiracy against the Republic, of
+which he was accused; and it is affirmed that it was only because
+Bonaparte could not get hold of the legitimate Princes--Artois and
+Berry--whose claims to the throne of France he grudged and feared, that
+he took his revenge upon the Duc d'Enghien. He had tried in vain to
+entrap these Princes, and failing committed this act of personal revenge
+on the eve of proclaiming himself Emperor, in order to frighten the
+Royalists, who, as he declared, were continually conspiring against him.
+When this dastardly murder became known there was a cry of indignation
+all over Europe. The Russian Court went into mourning, and Napoleon
+found it necessary to lay the blame upon Talleyrand and Murat. The grief
+of the unhappy father at the loss of his only son and the last scion of
+his race was so great that he became a prey to chronic melancholy; but
+Louis Joseph, the grandfather, strove bravely to live down his anguish.
+
+More than twelve years had still to elapse before their exile was ended,
+and then, for a brief period, on the collapse of the Napoleonic Empire,
+the Bourbon Monarchy was restored in France. At last, in 1815, the two
+Condés returned to Chantilly from England and found the old place, with
+the exception of the Petit Château, which they henceforth made their
+chief abode, a pile of ruins, and themselves almost strangers. The
+Princess of Monaco had died in England; and the Duc d'Enghien, upon whom
+all hope had centred, had been ruthlessly slain. In spite of all these
+misfortunes Louis Joseph remained faithful to the old home and began to
+repurchase his former possessions acre by acre. Some portions of the
+property had passed into alien hands; as, for instance, the site of the
+great waterfall, which had been separated from the original grounds by a
+wall. One of the alterations made at this time was the filling in of the
+moat, which hitherto had divided the smaller from the larger Château;
+and later the present Entrance-Hall was built on that site, whilst two
+new rooms decorated in the style of the period were added where the
+covered bridges had formerly stood. These new buildings gave access to
+the rooms formerly occupied by the Grand Condé, which, by a strange
+piece of luck, the Revolutionists had not demolished. The old Prince
+held these apartments in high honour; and they were the first to be
+redecorated and exquisitely panelled. During the four remaining years of
+his life he was continually occupied in restoring his ancestral palace
+to that dignity which he remembered so well in the past. He also
+succeeded in recovering the larger number of the works of art which the
+Montmorencys and the Condés had accumulated, not only at Chantilly but
+also at Ecouen and the Palais Bourbon in Paris. Most of these treasures
+had fortunately fallen into good hands, for during the worst horrors of
+the Revolution there had been men in France who had succeeded in
+preserving the art treasures belonging to the old family mansions which
+their proprietors had been compelled to abandon. Alexander Lenoir was
+one of these faithful guardians, and it is certainly due to his efforts
+that so many of these monuments and works of art in France were not
+destroyed. Conspicuous amongst them were the valuable collections at
+Chantilly.
+
+But after the long exile of the owners no more entertainments were held
+at Chantilly such as had been given so lavishly in happier days. After
+the great reverses which Louis Joseph and his son had undergone they
+seemed to indulge in one pleasure only, namely, that of the chase--the
+single luxury which they allowed themselves. They kept a splendid pack
+of hounds--the descendants of which still survive and are lodged in a
+corner of the great stables--and in spite of his great age the Prince
+himself appeared on horseback almost daily; often alone, but sometimes
+accompanied by his son, and hunted until quite late in the afternoon.
+Though past his eightieth year, he still had vigour enough, even on his
+return from a day's hunting, to shoot the wild duck which abounded in
+the moats. He died at Chantilly in his eighty-second year during the
+absence of both his son and his daughter, and was buried at Saint-Denis.
+As a true Condé he was very imperious and held strong opinions of his
+own: but he was tenaciously faithful in his friendships; and it was, no
+doubt, this fidelity to the Royal cause which characterised his conduct
+during the Revolution, and made him sacrifice everything rather than
+give up his Royalist principles.
+
+His son, the Duc de Bourbon, had not the iron nature of his father. He
+refused to take the title of Prince de Condé on his father's death,
+since he knew that this title must die with him. He, who had begun life
+under such happy auspices, long before his death became a broken man.
+His wife, the Duchesse de Bourbon, Louise Marie Thérèse Bathilde of
+Orléans to whom he became reconciled after a long separation, died
+suddenly whilst attending a patronal festival at Saint-Geneviève. She
+fainted whilst at her devotions, and on being transported to the
+Sorbonne died before her husband could be summoned. Her favourite
+nephew, the Duc d'Orléans--afterwards King Louis Philippe--was the only
+member of her family present when she expired.
+
+It was at about that time that Louis Philippe's fifth son was born--a
+child who eventually became the last Seigneur of Chantilly. He was held
+at the baptismal font by the last Condé, who from this time formed a
+great affection for his godson. He used to walk with him in the grounds
+of Chantilly and narrate to him all the memorable events which had taken
+place in this ancestral abode; and Henri d'Orléans, then but seven years
+old, would listen with the greatest attention, and long after remembered
+the colloquies held with his princely sponsor and benefactor--the last
+of the line of Condé. He thus refers to him: "When recalling my
+childhood, I picture to myself M. le Duc de Bourbon, dressed in his
+habitual grey coat, white silk stockings, and light shoes, walking about
+in the grounds of Chantilly on cold December days. Leaning on his stick
+he would sometimes stand still and relate to me what had happened in
+years gone by at the old place; how he had known it in its splendour
+during his youth; and how all these sad changes had come upon it. He
+loved to recall also the grand festivities given by his father to King
+Louis XV, to Marie Antoinette, and to the Emperor and Empress Paul of
+Russia."
+
+[Illustration: PLATE XVIII.
+
+LOUIS HENRI JOSEPH DE BOURBON, LAST PRINCE DE CONDÉ.
+
+_Musée Condé._
+
+Danloux]
+
+In 1830 Marie Amélie, Queen of Louis Philippe of France, visited
+Chantilly with her son, Prince Henri d'Orléans, and was received by the
+last of the Condés. A fortnight later the news was brought there that
+this princely line had come to an end. It has been alleged that the
+unfortunate liaison which the Duke had contracted with a heartless
+and low-born woman--one Sophie Dawes, the daughter of a fisherman in
+the Isle of Wight, and known as the Baronne de Feuchères--contributed
+greatly to embitter the last days of his life. After pocketing all she
+could, Madame de Feuchères on the death of the Duke left for England
+rather suddenly, and from that time was heard of no more.
+
+Louise, Princesse de Condé, died several years before her brother at the
+Temple as Prioress of the Benedictine Nuns. She had borne with much
+fortitude great trials; for during the Revolution she had to flee from
+place to place for safety, until she found at last a shelter within the
+walls of a convent--thus fulfilling the prophetic words of her friend,
+Gervaisais, "_C'est un front à porter une couronne ... ou un voile de
+religieuse_."
+
+
+
+
+CHAPTER X
+
+THE DUC D'AUMALE LORD OF CHANTILLY
+
+
+After the death of the last Condé, Chantilly was once more left desolate
+and abandoned, since Prince Henri d'Orléans, the heir, was still a
+child.
+
+In 1820 his eldest brother, the Duc d'Orléans, inaugurated at Chantilly
+the races which now rank as the French Derby, and which have continued
+every year up to the present day. In connection with these races the Duc
+d'Orléans, with the help of General Peel--a brother of Sir Robert
+Peel--successfully undertook to breed English racehorses in France; and
+Chantilly thus became a racing centre to which the _élite_ of French
+society thronged every year to attend a "Meeting" which speedily became
+one of the most famous in the annals of Sport. Residential accommodation
+was then very restricted, for only the Petit Château and the Château
+d'Enghien were available, the Grand Château not having yet been rebuilt.
+The theatre where Molière, Racine, and Corneille produced their plays
+had also vanished; a substitute was therefore improvised for these
+occasions by the Comédie Française on the site of the present Library.
+
+But Orléans Princes in those days had not so much leisure for mere
+recreation as had their predecessors. In that same year the Duc
+d'Orléans started for Algiers, taking with him the Duc d'Aumale, then
+only eighteen. In spite of his youth on the premature death of his elder
+brother he was entrusted with the command at Medea, where he
+distinguished himself greatly, and became so beloved that the tiny
+little Arab house which was his temporary residence there is still
+preserved by a grateful nation. Engaging in a variety of operations in
+Algeria, he brought this campaign to a brilliant ending in 1844 by a
+victory over Abdul Kader; by which he succeeded in capturing the
+concealed camp "La Smalah" where this chieftain and his staff had been
+residing. This victory was principally due to the young Duke's great
+energy and powers of endurance. In the Musée Condé there is a room
+called "La Smalah," where we may still see numerous paintings and
+sketches by Bellange and Horace Vernet illustrating this victorious
+African campaign.
+
+On the Duke's return from Algiers a marriage was arranged between him
+and Caroline Auguste de Bourbon, daughter of the Prince of Salerno and
+the Archduchess Marie Clementine, sister to Napoleon I's second wife,
+Marie Louise of Austria. The nuptials were celebrated at Naples, and a
+few days later the young pair left for France, where they were
+impatiently expected by Queen Amélie, who was overjoyed to welcome one
+of her own relatives as her son's bride.
+
+It had been agreed that Chantilly should be the home of the newly
+married pair; and in 1843 the architect Duban received instructions to
+execute the necessary alterations; whilst to Eugène Lami--the same
+artist who painted the portrait of the young Duchess which now hangs
+over one of the doors of the Salle Caroline--was entrusted the
+decoration of the various apartments. The ground-floor apartments of the
+Petit Château--the same suite which the Grand Condé had selected for his
+son Henri Jules and his children--were the rooms chosen for the personal
+occupation of the Duke and Duchess.
+
+In 1845 Louis Philippe paid a visit to his son at Chantilly, and made
+himself very popular on that occasion by telling his coachman to drive
+slowly across the Pelouse, because he had heard some ladies complain
+that if he drove so fast no one could see him.
+
+The title of Condé was conferred upon the Duc d'Aumale's eldest son,
+born at Saint-Cloud, in the hope that he would revive so illustrious a
+name. He was brought to Chantilly at the age of six months and remained
+there until the Duchess joined her husband at Algiers, where he had been
+nominated Governor. It was then proposed that extensive alterations at
+Chantilly should be carried out during the absence of the Duke and
+Duchess, and it was their intention to return thither in the following
+summer. Fate, however, decreed otherwise. In February 1848 Louis
+Philippe was compelled to abdicate in favour of his grandson, the Comte
+de Paris, then a mere child; and to avoid further difficulties the
+ex-King left immediately for England, and took up his residence at
+Claremont under the style of Comte de Neuilly. This unfortunate event
+obliged the Duc d'Aumale to resign his commission in the French army, to
+which he had rendered such signal service. He thenceforward resided with
+his family in England, chiefly at Twickenham, whither the larger part of
+the artistic furniture and works of art from Chantilly were transported.
+This was done at the special request of the Duchess, whose desire it was
+to reconstitute as far as possible her lost home in the land of their
+adoption. An Imperial Decree next commanded that all the properties of
+the Royal Family of France should be sold within a year. The sale of
+Chantilly--of course a fictitious one--was thereupon carried out by the
+English bankers Coutts & Co., who sent Colonel McCall, a representative
+of their own, to reside upon the estate. He dwelt in the Château
+d'Enghien, and administered the whole of the property on behalf of the
+Duke; whilst the Petit Château was let to Lord Cowley, who made it his
+summer residence. Later it was successively occupied by the Comte
+Dûchatel and the Duc de la Trémoille.
+
+Twenty-three years later, after the disaster at Sedan and the fall of
+the second Empire, the Duc d'Aumale was once more permitted to return to
+Chantilly. Many changes had occurred during this long interval. The
+Duchess, overcome with grief at the death of her eldest son, the Prince
+de Condé, had died in exile. That young Prince was the last to bear this
+illustrious name. He is said to have been highly gifted, and to have
+possessed great qualities. He had been educated chiefly in England, and
+had distinguished himself in his studies at Oxford, where he showed a
+remarkable talent for languages. It was, however, his noble and
+affectionate character that specially endeared him to his parents.
+
+Like his father he was filled with a passionate devotion for his native
+country. When the Crown of Greece was offered to the Duke, subject to a
+condition that the Heir-Apparent must change his religion and his
+nationality, although he had decided not to accept the honour, he
+thought it his duty to communicate the proposal to his son. Whereupon
+the lad wrote from Switzerland, where he was undergoing his military
+training, the following reply: "Having had the high fortune to be born a
+Frenchman and a Roman Catholic, I will ever remain French and Roman
+Catholic."
+
+Not long after this incident the young Prince started for a voyage round
+the world, but before its completion died of typhoid fever at Sydney in
+Australia.
+
+The Duc d'Aumale on his return to Chantilly was accompanied only by his
+younger son, the Duc de Guise, and it was not possible even then for him
+to obtain possession of it. The Château and the Pavillon d'Enghien were
+still occupied by Prussian officers, whilst in the town of Chantilly
+there was a garrison of German soldiers who were holding the Mayor and
+the Vicar as hostages.
+
+It was under such sad circumstances that the heir of the Condés saw once
+more the heritage from which he had parted so many years before. On
+attempting to enter the Park unobserved by a side gate his distinguished
+appearance awoke recognition in one of his old keepers who, bowing low
+and with tears in his eyes addressed him by name. Whereupon the Duke
+found it impossible to control his emotion.
+
+As soon, however, as the German troops had departed, His Royal Highness
+entered upon his property and, in spite of all the sorrows which had
+fallen upon him since he had left his beloved home, he yet felt happy at
+being once more on French soil, and able to educate his only surviving
+son in his native land. The young Duc de Guise was sent to a college in
+Paris, but spent his holidays at Chantilly; and father and son, as in
+the time of the last two Condés, were often seen riding and hunting
+together in the park and woods. From time to time also the Archduchess
+Marie Clementine, mother of the late Duchess, visited at the Château.
+
+In 1872 all the surviving members of the French Royal Family assembled
+at Chantilly to celebrate the wedding of Princesse Marguerite, daughter
+of the Duc de Nemours with Prince Ladislas Czartoysky; and on this
+occasion the great battle-pieces representing the military glories of
+the great Condé were replaced in the Gallery.
+
+In the early spring of that year, King Edward and Queen Alexandra--then
+Prince and Princess of Wales--paid a visit to the Duc d'Aumale; with
+whom they had contracted a warm friendship during his residence in
+England.
+
+But just when calm and happiness seemed to have at last returned to
+Chantilly, another heavy blow fell upon it. The young Duc de Guise was
+struck down by typhoid fever and died after a few days' illness. With
+his sudden death all plans for the improvement of the Château and estate
+came to an abrupt standstill, for the heart-broken father had now to
+realise that, as he himself mournfully put it, "_la dernière flamme de
+son foyer était éteinte_."
+
+A new scheme now took shape in the heart of the Lord of Chantilly: a
+scheme at first kept to himself, and which had revolved in his mind long
+before he made it public. He intended to take France by surprise. This
+scheme was a no less magnificent one than to bestow Chantilly with all
+its appurtenances and contents upon the French nation. Once more the
+long interrupted design of the architect Duban, made before the exile of
+the Duke and Duchess, was recommenced: this time by M. Daumet, who
+undertook also the difficult task of rebuilding the Grand Château. After
+years of labour there arose once more upon the vaults of this famous
+fortress the present building, destined to become the Musée Condé, a
+veritable palace of Literature and Art. Its architecture, in order to
+harmonise with that of Montmorency's Petit Château, is directly copied
+from sixteenth-century designs. But to erect the stately marble
+staircase with its splendid gilt iron railings, an undertaking which
+offered the greatest difficulties, it was necessary to pierce the solid
+rock. The Chapel, adorned by an elegant spire and full of valuable
+relics of the Montmorency and the Condé families, was also restored at
+this time. It contains an altar of Senlis marble, the joint work of Jean
+Bullant and Jean Goujon; and exquisite wood carvings, dated 1548, were
+brought from Écouen, an old seat of the Montmorency family. In the
+stained-glass windows (dated 1544) are represented the sons and
+daughters of Anne de Montmorency, whose effigy and that of his wife,
+Madeleine of Savoy, are painted on the wall by a modern painter from a
+cartoon by Lechevallier Chevignard.[17] The fine bronze monument to
+Henri II de Bourbon by Jacques Sarrazin has also found a permanent abode
+in this chapel. It was saved by Alexander Lenoir and presented to the
+Prince de Condé in 1815.
+
+During the execution of these works Chantilly was frequently the scene
+of very interesting family gatherings. Queen Christina of Denmark, on
+the occasion of the marriage of her youngest son Waldemar to Princesse
+Marie, eldest daughter of the Duc de Chartres, made a lengthy stay at
+Chantilly; and not long afterwards Princess Marie Amélie, daughter of
+the Comte de Paris, was betrothed here to the Duke of Braganza,
+afterwards King of Portugal. But in that same year Republican France
+suddenly pronounced a further sentence of banishment upon all claimants
+to the French Throne--Royalist and Imperialist; in which order the Duc
+d'Aumale was included. In his quality of a General in the French Army,
+he protested against this, but without avail; and once more Chantilly
+was deserted. But this time it was not for long; for on returning with a
+heavy heart to his English home at Woodnorton and feeling his end
+drawing near the Duke resolved to make known immediately the act of
+munificence upon which he had so long decided. He therefore made public
+his intention of leaving Chantilly with all its forests, parks and
+lakes, and all its art-treasures to the care of the Members of the
+Institut de France, in trust for the French Nation. This was his
+dignified answer to the French Republic; and it made a deep and lasting
+impression in France. Nor was this act of generosity without immediate
+consequences, for shortly after a Decree signed by President Carnot was
+sent to the Duke with the assurance that France would welcome him back.
+
+[Illustration: PLATE XIX.
+
+HENRI D'ORLÉANS, DUC D'AUMALE.
+
+_Musée Condé._
+
+Léon Bonnat.
+
+_facing page_ 124]
+
+On March 9, 1889 he returned to Paris, and his first act was to present
+his thanks to the President, who seemed much touched by the words
+which he uttered upon this occasion. A hearty welcome greeted him from
+the people of Chantilly; and on his arrival at the station he was
+accompanied by a vast crowd to the door of the Château. A medal was cast
+in commemoration of this return, upon the obverse of which was a figure
+contemplating France from afar and the word "_Spes_"; upon the reverse a
+figure at the gates of the Château holding an olive-branch and the
+inscription "_À S.A.R. Monseigneur le Duc d'Aumale; en souvenir du 11
+mars 1889, les habitants de Chantilly reconnaissants_."
+
+Subsequently an equestrian statue of the Duke was cast and placed near
+the entrance of the Château by the people of Chantilly, who regarded him
+and his ancestors as their benefactors. And it was here amongst his art
+treasures that he spent the last years of his eventful life.
+
+
+
+
+SECOND PART
+
+_THE MUSEE CONDE_
+
+
+
+
+CHAPTER XI
+
+THE ART TREASURES OF THE MUSÉE CONDÉ AND HOW THEY WERE BROUGHT TOGETHER
+
+
+No sooner had the Duc d'Aumale resolved to bestow Chantilly with all its
+treasures as a gift to the French nation than he joined, with even more
+enthusiasm than he had previously done, the ranks of the great European
+collectors, and he frequently attended in person important sales in
+London, Paris, and elsewhere.
+
+During the long years of exile, passed chiefly in England, he usually
+resided either at Orleans House near Twickenham or at Woodnorton in
+Worcestershire (till recently the residence of his nephew, the present
+Duke of Orleans). It was, however, at the former place that all the
+valuable manuscripts, paintings, books, and objects of art brought from
+Chantilly were then housed.
+
+The first exhibition of his taste as a pronounced bibliophile was given
+by his acquiring the celebrated Standish Library, a collection
+originally bequeathed to Louis Philippe by the English collector
+Standish but sold by auction in 1851 on the death of that King. This
+remarkable collection contained numerous Aldine editions and hundreds
+of Italian and German _incunabula_. To this famous library the Duke next
+added that of M. Armand Cigongne, a collection composed almost
+exclusively of works in French--volumes of prose and poetry, exquisitely
+bound, and many of them still bearing the coats-of-arms and book-plates
+of former proprietors.
+
+The most important acquisition, however, (added in 1855), was the famous
+illuminated MS. known as _Les Très Riches Heures du Duc de Berry_, an
+unique example of primitive French Art, to a description of which we
+shall return later on.
+
+In course of time other additions were made of great value and interest:
+such as, for instance, _Les Fables de Marie de France_, _Le Roman
+d'Aspremont_ (thirteenth century), a copious selection of ballads and
+songs of the fourteenth century, and many other works of note, amongst
+them being a copy in four volumes of the _Songs_ of Laborde, illustrated
+with original designs by Moreau.
+
+In the year 1861 the Duc d'Aumale, for the moderate sum of 14,000
+francs, purchased from the well-known connoisseur M. Reiset a collection
+of no less than 380 drawings by Italian, Flemish, Dutch, and German
+masters. Amongst these may be specially noted: _A Reading Monk_, by
+Raphael (hung in the Galerie du Logis), and a design, dated
+approximately 1505, which approaches in execution the _St. Catherine_ in
+the Gallery of the Louvre.[18] Here are also drawings attributed to
+Verrocchio: a _Warrior on Horseback_, five studies of horses, and an
+interesting drawing of _A Man and Woman_, all in the style of Pisanello.
+
+_La Joconde_ (also in the Galerie du Logis), a cartoon for the picture
+attributed to Leonardo da Vinci at St. Petersburg, came from the Reiset
+Collection, as also did studies for Signorelli's _Last Judgment_ at
+Orvieto; studies for Michael Angelo's _Prophets_ in the Sixtine Chapel;
+and drawings by Fra Bartolomeo for his great composition in the Pitti. A
+fine group of eleven figures by Lucas van Leyden, illustrating _The
+Return of the Prodigal Son_, is one of the most important items in this
+series; and a study of a _Virgin_ by Dürer, an interesting _Portrait_ by
+Holbein the elder, a _Mountainous Landscape_ by Rembrandt, and certain
+studies of costume attributed to Pisanello, etc., are all worthy of more
+than a passing notice.
+
+Orléans House was soon found to be far too small to contain all these
+treasures, and an annexe was built to it. The Duc d'Aumale presently
+organised an exhibition, to which he invited the members of the
+Burlington Fine Arts Club. Disraeli, who was present, and was much
+struck by what he saw on that occasion, referred to him in his speech at
+the anniversary of the Foundation of the Royal Literary Fund in the
+following appropriate words: "Happy the prince who, though exiled from
+his palaces and military pursuits through no fault of his own, finds a
+consolation in books and an occupation in the rich domain of Art. Happy
+the prince who, whilst living on terms of equality with the people of a
+strange country, still distinguishes himself by the superiority of his
+noble mind and character. Happy the prince who in adverse circumstances
+can defy fate and make conquests in the kingdom of letters, which
+cannot, like dynastic authority, be taken away from him." The great
+statesman here alluded to the stupendous historical work in seven
+volumes on the _History of the Princes de Condé_ upon which the Duke was
+at that time occupied.
+
+It must be remembered that these more recent acquisitions were
+supplementary to the already existing collection which His Royal
+Highness had inherited as heir to the last Prince de Condé--a collection
+which comprised, amongst other things, two fine Van Dycks (the
+_Princesse de Barbançon_ and the _Comte de Berghe_), paintings by
+Christophe Huet, by Desportes and by Oudry, and precious Gobelins and
+Beauvais tapestries.
+
+Furthermore yet another collection came into the Duke's possession on
+the death of his father-in-law, the Prince of Salerno, and with it no
+less than seventy-two paintings, including works by Andrea del Sarto,
+Luca Longhi, Giulio Romano, Luca Penni, Perin del Vaga, Daniele di
+Volterra, Baroccio, Bronzino, Mazzola, Carracci, a _Portrait_ by Moroni,
+a Guido Reni, a Spada, an Albano, a _Portrait of Himself_ by Guercino, a
+fine _Madonna_ by Sassoferrato, two landscapes by Gaspar Dughet, and
+several paintings by Salvator Rosa.
+
+Examples of the Northern Schools in this same collection include
+portraits of _Elisabeth Stuart_, Queen of Bohemia, daughter of James I
+of England, by Mierevelt and of the _Duke of Neubourg_ by Van Dyck.
+
+In the Salerno Collection is an interesting little work by Ingres
+representing _Paolo Malatesta and Francesca da Rimini_ in the ecstasy of
+their first kiss, and also a portrait of a _Young Woman_ by Van Loo and
+some fine mosaics from Herculaneum and Pompeii.
+
+Although this Salerno Collection is full of interest in itself, compared
+with later acquisitions it is but of secondary importance. It was French
+Art that chiefly attracted the Duke, and he consequently missed no
+opportunity of extending his purchases in that direction. From the
+well-known firm of Colnaghi in Pall Mall he bought portraits of members
+of the Valois family, such as, for instance, _Henri II_ as a child
+(attributed to Clouet), and as King by Primaticcio; the _Comte de Cossé
+Brissac_; _Madame and Mademoiselle de Longueville_, by Beauburn; and
+other portraits by Mignard, Largillière, etc.
+
+At the Bernal Sale in 1855 he acquired for 6,000 francs the
+much-discussed portrait of _Odet de Coligny_; portraits of _Queen
+Eleonore_, of _Henri II_, of _Henri III_, of _Elisabeth of Austria_, and
+of _Louis XIV_, the last named of these being by Hyacinthe Rigaud.
+
+At the famous Utterson Sale the Prince acquired some of those wonderful
+sixteenth-century French drawings which formed the nucleus of his unique
+collection of this branch of art; and at about the same period he also
+bought a number of engravings, amongst which were fine examples by Marc
+Antonio Raimondi and Rembrandt.
+
+From the collection of his brother the Duke of Orleans he bought _The
+Assassination of the Duc de Guise_ by Delaroche, and a painting by
+Descamps; and at the Lawrence Sale in 1856 secured a portrait of his
+ancestor _Philippe Egalité_ by Sir Joshua Reynolds. This was apparently
+a sketch for the life-size portrait commissioned by the Prince of Wales
+(afterwards George IV) during the French Prince's exile in England. The
+larger picture, formerly at Carlton House, was destroyed by fire in
+1820, which greatly enhances the value of the sketch at Chantilly.
+
+The portraits of _Mazarin_ and _Richelieu_ by Philippe de Champaigne,
+now at Chantilly, were formerly at Château d'Eu, and formed part of
+Louis Philippe's collection, as also did de Troy's _Déjeuner d'Huîtres_
+and Lancret's _Déjeuner de Jambon_. From the same source came two
+splendid cabinets by Riesener and the Beauvais furniture now in one of
+the salons of the Petit Château.
+
+The Prince was evidently a great admirer of Poussin, for in 1854 he
+acquired for 9,175 francs the celebrated _Massacre of the Innocents_,
+and in 1860 another work by the same master, _Thésée découvrant l'épée
+de son père_, which is typical of that artist's particular style.
+
+At the Northwick Sale in 1859 yet another Poussin, _The Infancy of
+Bacchus_, was added; besides a large panel by Perugino, an early work,
+once in the Church of San Girolamo at Lucca. An interesting painting
+representing a _Dance of Angels_, probably by a Sienese master of the
+fifteenth century, came also from this same sale. Titian's _Ecce Homo_
+was bought for 15,000 francs from the Averoldi family of Brescia, for
+whom it is said to have been painted.[19]
+
+_The Woman taken in Adultery_ (attributed to Giorgione), _The Martyrdom
+of St. Stephen_ by Annibale Carracci, and _Mars and Venus_ by Paolo
+Veronese were bought in London in 1860 from M. Nieuwenhuys; and in 1864
+at a public sale in Paris the celebrated painting by Ingres representing
+_The Story of Antiochus and Stratonice_ fell, amid general applause, to
+the lot of the Duc d'Aumale for 92,100 francs.
+
+Rosa Bonheur's _A Shepherd in the Pyrenees_, presented by the Duke to
+his wife, was acquired next, together with Gérome's _Le Duel après le
+Bal_ and Protais' _Avant et après le Combat_.
+
+From the Soltykoff Sale in Paris, for the sum of 54,000 francs, came the
+four large portraits in Limoges enamel representing _Henri d'Albret,
+King of Navarre_, _Antoine de Bourbon_, _Louis de Bourbon_, and
+_Catherine de Lorraine_.
+
+[Illustration: PLATE XX.
+
+The Minerva of Chantilly.
+
+Greek Bronze.]
+
+In 1865 Baron Triqueti, who often represented the Prince at these sales,
+was sent to Paris to acquire the famous Pourtales vase, a Greek amphora
+with red figures of the time of Phidias. For this interesting work of
+art he paid 10,000 francs; whilst two small Greek bronzes--one
+representing _Jupiter_ and the other a statuette of _Minerva_--were
+knocked down to him for 8,000 and 19,300 francs respectively. Upon this
+occasion the Duke was bidding against the Louvre, the British Museum,
+and Monsieur Thiers. These two bronzes, which were found near Besançon,
+are of unequal merit; the _Jupiter_ is of only average workmanship; but
+the _Minerva_ statuette is considered one of the greatest treasures at
+Chantilly. Léon Heuzey places it in the late archaic period at a time
+when the Greeks were still endeavouring to ennoble and beautify their
+goddess before they finally arrived at the height of their ideal in the
+famous _Athena of Lemnos_. The fact that this statuette was found at
+Besançon indicates how highly Greek Art was valued, not only in Rome,
+but also in Cisalpine Gaul; for such small portable figures often
+accompanied their owners on their journeys, and who knows what great
+personage it may have been who brought this exquisite little _Minerva_
+with him to Gaul? We know that Tiberius never travelled without his
+much-cherished _Amazon_ of the Vatican.
+
+A fragment of an antique sarcophagus representing _Bacchus and Ariadne_
+was acquired for 7,200 francs at the Nolivos Sale and is exhibited now
+in the Salle Minerve along with the above-mentioned statuettes and some
+charming Tanagra figures.
+
+On the death of his mother, Queen Marie Amélie, the Duc d'Aumale
+inherited a great many family portraits and miniatures, the most
+noteworthy among these being a life-size portrait of _Gaston d'Orléans_
+by Van Dyck, of which there is a replica in the Radnor Collection. This
+painting was given to Louis Philippe by George IV and was probably
+painted at the request of Queen Henrietta Maria, wife of Charles I, who
+was a sister of the Royal sitter. There is not the slightest resemblance
+in his features to the good King Henri IV, his father. Treachery lurks
+in his mouth and eyes, and we cannot help being reminded that he was the
+direct cause of the execution of the last Montmorency.
+
+From the same source came a portrait of _Queen Marie Amélie_ herself,
+painted by Gérard in 1817, and likenesses of the same Queen and two of
+her daughters by Vigée Le Brun; a portrait of _Louis Philippe_ as Duc
+d'Orléans, when professor at Reichenau, by Winterhalter; and others of
+_Philippe Egalité_ and his charming wife, a daughter of the Duc de
+Penthièvre, and of the _Duc d'Aumale_ as a child by Robert Fleury. Most
+of the gems and miniatures are likewise from the collection of Queen
+Marie Amélie; and to the miniatures, in course of time, were added
+others of members of the Royal Family of France bought by the Duke
+himself, such as of _Anne de Bretagne_, _François I_, _Gabrielle
+d'Estrées_ and her two sons, _Henri II_, _Henri IV_, and _Sully_, the
+famous Minister of Finance; of the _Duc de Guise_ (_le Balafré_), _Marie
+de Medicis_, _Marie Thérèse_, Queen of Louis XIV, the _Grand Dauphin_
+and his wife _Marie Anne of Bavaria_, and many more.
+
+In 1865 Mr. Colnaghi sold to the Duke Meissonier's _Les Dragons sous
+Louis XV_ and a landscape by S. W. Reynolds, who is best known as an
+engraver. The charming portrait of _Maria, Lady Waldegrave with her
+Daughter_ by Sir Joshua, was bequeathed to the Duke by Frances, Countess
+of Waldegrave; and Lord Holland in 1860 presented him with
+_Talleyrand's_ portrait by Ary Scheffer. From Sir Charles Robinson the
+Duc d'Aumale acquired some fine Italian manuscripts, and an interesting
+Rheno-Byzantine painting representing the _Emperor Otto I_ seated
+between two allegorical female figures, each holding a small globe
+signifying the vassal states of the Empire. This painting, which is of
+considerable historical value, is apparently a detached portion of a MS.
+illuminated for the Emperor about the year 1000. From the same source
+came another fragment, a _Resurrection_, dating from the fourteenth
+century and belonging to the Sienese School. This hangs in the Rotonde
+near a miniature of a _Christ on the Cross_ attributed to Giulio Clovio.
+
+In 1868, two years before his exile was suddenly terminated by the
+downfall of the second Empire, the Duc d'Aumale bought for the sum of
+600,000 francs the collection of the Marquis Maison; and amongst the
+pictures which formed it were eight Descamps, three Marilhats, one Gros,
+four Watteaus, four Greuzes and two paintings by Prud'hon. After that
+followed the acquisition of one of Fromentin's finest works, _La Chasse
+au Faucon en Algérie_; whilst a sea-piece by Vandervelde together with
+the _Dunes at Scheveningen_ by Ruysdael were bought at the San Donato
+Sale.
+
+Presently there came the celebrated _Vierge de la Maison d'Orléans_ by
+Raphael, which the Duke acquired at the Delessert Sale for the sum of
+160,000 francs--a fascinating picture supposed to be one of the two
+panels described by Vasari as having been painted for Guidobaldo di
+Montefeltro, and of which he says "that they were small but exceedingly
+beautiful examples of the master's second manner."[20] At one time in
+the possession of Gaston d'Orléans, this charming work passed from
+France into Flanders at the end of the sixteenth century, where it is
+supposed to have belonged to David Teniers the Younger. Passavant
+thought that it was then that the background was repainted and the shelf
+with the various pots and vases added--a supposition which has,
+however, since been refuted. The youthful Madonna is seated on a
+cushioned bench in a small homely room; and behind her hangs a light
+curtain of reddish grey. She bends tenderly over the Infant Christ, who
+gazes intently at the spectator with an expression full of feeling and
+inspiration. This is perhaps the most divine-looking of all Raphael's
+Infants. The Bridgewater _Madonna_, seated on a similar seat in a homely
+habitation, is closely analogous to the Virgin in this work, but instead
+of the shelf there is an arched window to the right. The lights in both
+pictures are subtle and extremely delicate, whilst the shadows are in
+strongly marked contrast.
+
+In the eighteenth century the Orléans _Madonna_ subsequently returned to
+France to the house of the well-known collector Crozat, from whence it
+passed into the Orléans Gallery and obtained thus its distinctive
+appellation. During the Revolution this entire collection was
+transported to Brussels, and the _Madonna_ changed hands several times
+before it finally entered the haven of the Musée Condé.
+
+       *       *       *       *       *
+
+[Illustration: PLATE XXI.
+
+_Photo Giraudon._
+
+The Virgin of the Maison d'Orléans.
+
+By Raphael.
+
+Musée Condé.]
+
+When the Duc d'Aumale returned to Chantilly after an absence of twenty
+years, he at once formed as we have seen a plan for erecting a museum
+upon the ruins of the old Château, with the further intention of
+presenting the mansion with all its contents to the French nation. Many
+years, however, elapsed before the building was complete and ready to
+receive all the treasures which it was destined to hold; but meanwhile
+the Duke continued to increase the collection by munificent and
+judicious purchases.
+
+At the Faure Sale in 1873, Delacroix's dramatic composition of _The Two
+Foscari_ was acquired; in 1877 there were added the four Tanagra figures
+which now adorn the case wherein the _Minerva_ is enshrined; and an
+exquisite example of Italian enamel, representing _Apollo guiding the
+Chariot of the Sun_ (attributed to Benvenuto Cellini), was bought from
+M. Cadard for 6,000 francs.
+
+In 1876 a very important acquisition was made in the shape of a
+collection of French portraits, once in the possession of Gaignières but
+subsequently belonging to Alexandre Lenoir, from whom it had passed into
+England and become the property of the then Duke of Sutherland. This
+collection, which was at Stafford House until the Duc d'Aumale acquired
+it, consists of no less than 69 painted portraits, 148 drawings in
+coloured chalk and several pastels. Amongst the most interesting of
+these portraits are: _Francis I_ (painted about 1515), his sister,
+_Marguerite d'Angoulême_, and her husband, _Henri d'Albret, King of
+Navarre_; _Jeanne d'Albret_; _Admiral de Coligny_, and his brother the
+_Cardinal_; _Catherine de Medicis_, _Diane de Poitiers_, _Charles IX_,
+_Henri III_, _the Duc d'Alençon_, and _the Duc de Nemours_ (all
+attributed to François Clouet); _Marguerite de France_, and _Madame de
+Lansac_ (attributed to Corneille de Lyon); _Philippe de Clève_, _Sieur
+de Ravenstein_; _Jean de Bugenhagen_ (attributed to Holbein); _Catherine
+de Bora_, the wife of Luther; _Charles V_; _the Count and Countess
+Hornes_; _Henri IV_ (by Pourbus), and an attractive likeness of his
+daughter _Elizabeth, Queen of Spain_; _Gabrielle d'Estrées au bain_;
+_the Duc de Retz_; _the Duc d'Aumont on horseback_; _Sully_ and
+_Charost_ (by Quesnel); _George I_; several portraits by Mignard, among
+them a magnificent likeness of _Molière_, another of _Mazarin_, and two
+pastels representing _Colbert_ and _Quinault_. From the same collection
+are the portraits of _Pope Benedict XIV_ by Subleyras and of _Marie
+Antoinette_ as _Hebe_ by Drouais.
+
+Another portrait which attracts much notice is that of Antoine de
+Bourgogne, the _Grand Bâtard_, the second of the nineteen illegitimate
+sons of Philippe le Bon. This painting was presented to the Duc d'Aumale
+by the Duke of Sutherland. It is an exquisite work of art which has been
+variously attributed to Memling, to Roger van der Weyden, and to Ugo van
+der Goes, but it is to the last-named artist that it can be assigned
+with greater probability. The _Grand Bâtard_[21] wears the Order of the
+Golden Fleece instituted by his father at Bruges in 1430, and appears to
+be about forty years of age, the period of life when he gained his great
+victory over the Moors at Ceuta. He was not only a valiant warrior, but
+also an arduous bibliophile and collector. His Château of La Roche
+contained many interesting illuminated manuscripts now dispersed, and of
+these the _Froissart_ at Breslau is amongst the most celebrated. Like
+all those that belonged to him, it bears his autograph "_ob de
+Bourgogne_" "ob" being an abbreviation of the Greek word _[Greek:
+obalós]_, which means _bâtard_.[22]
+
+The drawings of this Sutherland Collection, especially those belonging
+to the sixteenth century, are less important, many of them appearing to
+be copies by inferior hands; those, however, of the seventeenth century
+by Quesnel and Dumoustier are first-rate. Among the portraits in pastel
+may be noted likenesses of _Madame de Montespan_, _Louis XIII_, _Gaston
+d'Orléans_, _Louis de Haros_, and an interesting portrait of _Watteau_
+designed by Boucher after an original by Watteau himself.
+
+In 1877 the Duc d'Aumale availed himself of another opportunity of
+restoring to France a French collection which had been brought to
+England, namely, that of M. Carmontelle, which comprised no less than
+450 coloured sketches for portraits which date from the year 1757 to the
+year 1775. Carmontelle, as tutor to the Duc de Chartres, had plenty of
+opportunity during his leisure hours to sketch all the men and women
+with whom he came in contact, which he did merely for his own amusement,
+without any expectation of payment. The facility with which he executed
+these sketches astonished even Grimm, who remarked upon his skill. In
+about two hours each, with the greatest ease, he reproduced all the most
+noticeable figures in the life of the period, from the Dauphin and his
+courtiers, the Princes and Princesses of the House of Bourbon and
+Orléans, the officers, ladies and gentlemen, ecclesiastics, musicians
+and actors, down to the domestics, and even the floor-scrubber at
+Saint-Cloud. These sketches amounted at the time of his death to the
+number of 700, and in 1807 were bought _en bloc_ by his friend Richard
+de Ledans, who disposed of a good many of them. When he died in 1816 450
+drawings only were left. These were at once bought by Pierre de la
+Mesangère, editor of _Le Journal des Dames et des Modes_, and they form
+an exceedingly valuable record of the fashions at the time of Louis XV.
+
+In 1831 the Carmontelle drawings reappeared in Scotland in the
+Duff-Gordon-Duff Collection, whence they were acquired by the Duc
+d'Aumale for the sum of 112,500 francs, to add to other examples of this
+artist's work, particularly a portrait of _Carmontelle_ himself, which
+he already possessed. They are now stored in large portfolios in the
+Salle Caroline at Chantilly, and, catalogued with comments and notes by
+the late Anatole Gruyer, afford great pleasure and amusement to those
+who have leisure to examine them.
+
+[Illustration: Plate XXII.
+
+Photo. Giraudon.
+
+A GAME OF CHESS.
+
+Carmontelle.
+
+Musée Condé.]
+
+The next acquisitions were a number of paintings collected by M. Reiset,
+who had already, as we have seen above, passed on his drawings to the
+indefatigable Duke. The price paid for these was 600,000 francs, and
+they include no less than twenty-five pictures of the Italian School,
+amongst which we may mention the following: a small panel representing
+the _Death of the Virgin_, attributed to Giotto (unfortunately much
+repainted); _The Coronation of the Virgin_, by Giovanni del Ponte di San
+Stefano; an allegorical figure representing _Autumn_, attributed to
+Botticelli[23]; an _Annunciation_ by Francia and a _Holy Family_ by
+Jacopo Palma; several Luinis and two small Filippo Lippis; and an
+exquisite little _Madonna holding the Infant Christ_ by Bissolo. _The
+Marriage of St. Francis of Assisi to Poverty_, by Sassetta (formerly
+assigned to his pupil Sano di Pietro) is one of the most attractive
+works by this master. It once formed part of an altarpiece at S.
+Severino, long since broken up and dispersed. Several smaller panels
+from the same altarpiece are to be found in the Chalendon Collection in
+Paris, and one belongs to M. le Comte Martel; whilst the central portion
+is in the possession of Mr. B. Berenson.[24]
+
+In the painting at Chantilly Sassetta may be seen at the height of his
+imaginative power.[25] An atmosphere of religious calm breathes over the
+landscape from which the three figures of Chastity, Humility and Poverty
+are floating upwards; the latter turning to wave a last friendly
+greeting to the Saint whom they are leaving on earth. It is full of the
+naïve sentiment for which this artist is so conspicuous.
+
+Another interesting painting which belonged to the Reiset Collection is
+the portrait of _Simonetta Vespucci_, formerly assigned to Pollaiuolo,
+but attributed by Dr. G. Frizzoni to Piero di Cosimo. Simonetta was a
+young Genoese lady renowned for her beauty, who came to Florence as the
+wife of a Cattini. Poliziano wrote sonnets upon her charms, and Giuliano
+dei Medici fell madly in love with her. Among the numerous likenesses of
+her by Botticelli and others, in the National Gallery, at Berlin, and
+elsewhere, this one in the Musée Condé seems to be the most lifelike.
+Reiset bought this portrait in 1841 from the last member of the Vespucci
+family.
+
+Attention may here be drawn to a fine sea-piece by Everdingen, the
+master of Ruysdael; to two small portraits of a _Husband and Wife_ of
+the Van Eyck School; and to a _Procession_ attributed to Dierick
+Bouts--all excellent examples of the Dutch School.
+
+An extremely interesting picture, now known to be of French origin, came
+also from the Reiset Gallery, namely, _The Virgin as Protector of the
+Human Race_[26]--a work executed in 1452 by Charonton and Vilatte for
+Jean Cadard and his wife, and of special importance in the history of
+French painting.
+
+[Illustration: Plate XXIII. Photo. Giraudon.
+
+THE MYSTIC MARRIAGE OF S. FRANCIS, BY SASSETTA.
+
+Photo. Giraudon.
+
+SIMONETTA VESPUCCIA, BY PIERRE DI COSIMO.
+
+Musée Condé.
+
+_To face page 146_]
+
+Five large Poussins, two Gaspar Dughets, a portrait of _Napoleon_ by
+Gerard; and no less than three works by Ingres came also from this
+same source: namely, the _Artist's own portrait as a youth_, a portrait
+of a _Madame Devançay_, and the painting of _Venus Anadyomene_, upon
+which he is known to have spent much time and thought throughout the
+last forty years of his life.
+
+Finally, to all these other treasures were added some drawings by
+Prud'hon. Then in 1882, from the Hamilton Palace Sale interesting
+portraits by Corneille de Lyon, and a small likeness of _Montaigne_
+probably by a late pupil of that master; and at various subsequent
+London sales drawings were purchased by Botticelli, Canaletto, Tiepolo,
+Salomon Ruysdael, Dumoustier, Ingres, Van Loo, and Gericault, besides a
+great number of engravings.
+
+Whilst the Duke was making these important acquisitions he was at the
+same time gradually rebuilding the old Château of the Condés in order to
+house them adequately, and it is not to be wondered at that intellectual
+France took a great interest in this vast artistic enterprise. His Royal
+Highness was elected a Member of the Institut de France and invited to
+occupy the chair of M. de Cardaillac at the Académie des Beaux Arts. It
+was on this occasion that Victor Hugo, whom the Prince had referred to
+in his address of eulogy upon his predecessor, wrote him the following
+memorable letter:
+
+     _Cher et Royal Confrère,_
+
+     _Je viens de lire vos nobles paroles sur moi. Je vous ecris emu.
+     Vous êtes né prince et devenu homme. Pour moi votre royauté a
+     cessé d'être politique et maintenant est historique; ma république
+     ne s'en inquiète pas. Vous faites partie de la grandeur de la
+     France. Et je vous aime._[27]
+
+It was, however, during the last years of his life that the Duke really
+made his most important acquisitions. In 1885, for the sum of £3,800, he
+bought from Mr. Fuller Russell the charming diptych painted in 1466 for
+Jeanne de France, daughter of Charles VII. This painting was formerly
+attributed to Memling, but Count Paul Durrieu now assigns it to Zanetto
+Bugatto of Milan, one of that master's greatest pupils in Italy.
+
+[Illustration: PLATE XXIV.
+
+_Photo. Giraudon._
+
+The Three Graces.
+
+By Raphael.
+
+Musée Condé.]
+
+In the same year Raphael's picture of the _Three Graces_ was purchased
+for the sum of £30,000 from the executors of the Earl of Dudley--a panel
+so small as not to exceed the dimensions of a man's hand. The youthful
+Raphael in this composition was clearly inspired by the beautiful
+antique marble group at Siena; and we may observe how the genius of two
+great artists in two such diverse epochs can be happily blended
+together. The _Three Graces_ at Chantilly and _The Dream of a Knight_ at
+the National Gallery are not far apart and may probably both be dated
+at about 1500-1503; but around the former picture there seems to hang
+some unsolved problem. The Duc d'Aumale expresses himself about it in
+the following terms: "Are these really the _Three Graces_ whom we have
+here before us? Or was it not rather the intention of Raphael to
+represent the _Three Ages of Womanly Beauty_? To the left the virgin
+with a veil around her slender hips; to the right the woman in her prime
+wearing a necklace of coral; and in the centre, with her back turned to
+the spectator, the woman in her full maturity, merely exhibiting her
+fine profile. Does not this picture imply that Woman at all ages holds
+in her hand the Empire of the World?"
+
+This little panel, originally in the Borghese Gallery, passed
+successively into the collections of Reboul, Fabre, Sir Thomas Lawrence,
+Woodburn, and Lord Dudley whence it finally entered the sanctuary of the
+Musée Condé.
+
+Another important picture of the Italian School is the _cassone_ panel
+representing _King Ahasuerus and Esther_.[28] This was originally
+painted for the Torrigiani family of Florence and was formerly ascribed
+to Filippino Lippi; but modern art-criticism assigns it to the
+suppositious "Amico di Sandro," who, if he really did paint it, has
+almost surpassed Filippino in both beauty and grace.
+
+Another panel from the same _cassone_, representing the _Second
+Appearance of Esther before Ahasuerus_, is in the possession of Leopold
+Goldschmidt at Paris; whilst the two side panels of _Mordecai on
+Horseback_ and _Esther as Queen walking in her Garden_ are in the
+Lichtenstein Gallery at Vienna.
+
+One more Italian picture deserves notice. It is a replica of the famous
+composition which passed some years ago from the collection of Prince
+Chigi in Rome into that of Mrs. John Gardiner at Boston, U.S.A. It
+represents the _Virgin and the Holy Child_ attended by an angel who
+offers the latter roses. This picture has much of the charm of both
+Botticelli and Filippino but is by neither of them. It is the work of
+some unknown but unquestionably highly gifted artist.
+
+       *       *       *       *       *
+
+[Illustration: PLATE XXV.
+
+_Photo. Giraudon._
+
+The Story of Esther.
+
+School of Sandro Botticelli.
+
+Musée Condé.]
+
+In spite of these important purchases of Italian pictures the Duc
+d'Aumale never neglected an opportunity of acquiring French works of
+art, and he extended his collection as far as possible in that
+particular direction. So that from M. Destailleur, from the Comte de
+Fresnes, and from the Baron Seillier he acquired books that had been
+bound expressly for François I, for Henri II and for Marguerite de
+Valois. At the Hamilton Palace Sale he purchased for 12,375 francs a
+_Book of Hours_ of the fourteenth century which had been specially bound
+for its then owner, François de Guise. In 1892 the sumptuous _Psalter of
+Ingeburge of Denmark_, wife of Philippe Auguste, found its way into this
+ever-increasing collection; and this was quickly followed by the
+interesting _Breviary_ executed in the fourteenth century for Queen
+Jeanne d'Evreux.
+
+In 1889 more than 310 French drawings were acquired from Lord Carlisle,
+including original work by Jean Perréal, by Jean and François Clouet, by
+Corneille de Lyon and by the Dumoustiers. The artistic, iconographic and
+historical value of these drawings has been pronounced on all hands to
+be almost unique; more especially with regard to the portraits of
+celebrated personages living between the years 1514 and 1560. _Francis
+I_ with his Queens, his mistresses, his courtiers, and the ladies of his
+_petites bandes_; the famous _Preux de Marignan_, the great
+_Montmorency_ and the _Colignys_, _Henri II_ and his numerous sons and
+daughters; _Catherine de Medicis_ and _la belle Diane_--all these famous
+heroes and heroines of history are met together in effigy at Chantilly:
+a place they all knew so well and enjoyed so much during their lifetime.
+The question of how these drawings, so highly valued under the Valois
+_régime_, were ever allowed to leave France has never been
+satisfactorily solved. Horace Walpole possessed a similar collection,
+but it was of much less artistic importance. It was the collection once
+owned by Mariette and is now apparently in the possession of an English
+peer.[29] Gaignières also collected French drawings of the same type,
+but after his death they greatly depreciated in value and passed from
+the Bibliothèque Royale into the Bodleian Library at Oxford. But the
+Howard portfolio, the most important of all, and also the Salting
+Collection were discovered in Florence. It is certain that there is a
+common link between all of the sets, and similar handwritings are to be
+found upon the margins of most of them. We must, however, postpone
+further discussion on this interesting question until a later chapter.
+
+In 1889 the great painting by Meissonier, _Les Cuirassiers de 1805_, was
+bought at the Secrétan Sale for the sum of 190,000 francs; and soon
+after came Détaille's finest work, _Le Colonel Lepic à Eylau: "Haut les
+Têtes."_
+
+In 1890 Corot's _Concert Champêtre_ cost the Duke 20,000 francs and
+proved how fully he appreciated the more recent art-movements in France.
+
+His Royal Highness made his last acquisition in 1891, perhaps the most
+important of all, and one which certainly procured for him immense
+satisfaction--namely, forty miniatures by the famous Jean Fouquet from
+the _Book of Hours_ of Étienne Chevalier. These unique treasures were
+purchased from Herr Brentano of Frankfurt for the sum of 250,000 francs
+and will be fully described presently.
+
+[Illustration: Plate XXVI.
+
+Photo. Giraudon.
+
+PLAN OF ROME.
+
+Pol de Limbourg and his Brothers.
+
+From The "Très Riches Heures du Duc de Berry."]
+
+The Musée Condé affords the most unique opportunities for the study of
+French art. The Wallace Collection may be richer in the work of the
+seventeenth, eighteenth, and nineteenth centuries, but there is nothing
+in that collection which can compare with the examples of French
+fifteenth and sixteenth century art enshrined at the Musée Condé; for
+example, the exquisite miniatures of the Brothers Limbourg and of Jean
+Fouquet, or the precious pencil portraits by the Valois Court-Painters.
+It is to these that closer attention will be drawn in the following
+chapters.
+
+
+
+
+CHAPTER XII
+
+FRENCH ILLUMINATED MANUSCRIPTS AT CHANTILLY
+
+
+[Illustration: Plate XXVII.
+
+Photo. Giraudon.
+
+JANUARY
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 154._]
+
+The leading part taken by French Art in the twelfth and thirteenth
+centuries was not continued in the same degree during the fourteenth and
+fifteenth. Nevertheless records have survived which afford sufficient
+information whence we may conclude that France was at that period not as
+entirely unproductive as has been hitherto supposed. It is true that,
+owing to the fact that the wall-decorations in the Hôtel St. Paul, the
+old Louvre, and the Hôtel de Savoisie in Paris, of the châteaux of
+Bicêtre and Vaudreuil in Normandy, and of the castles of the Comtesse
+d'Artois, have been almost entirely destroyed or demolished by fire,
+siege or climate, native works of art of that period have become
+extremely rare. Still those few which remain, such as the diptych
+belonging to the Earl of Pembroke at Wilton,[30] the _Parement de
+Narbonne_, now in the Louvre, the wall-paintings in the Cathedral at
+Cahors and in the Church of Saint-Savin at Poitiers, etc., testify amply
+to the importance of the work of that period. Moreover, the
+miniatures of that period have not shared the disastrous vicissitudes of
+the larger works. Thus the illuminated MSS. preserved at Chantilly offer
+a special interest and are of an almost unique value in the general
+history of Art.
+
+By a fortunate chance an _Inventory_ has come down to us, compiled in
+1416, immediately after the death of the Duc de Berry, brother of King
+Charles V of France. This document contains a catalogue of all the
+art-treasures in his possession; but hardly any names of artists are
+mentioned except those of Pol Limbourg and his brothers. Among the
+entries the following is worth quoting: "_Plusiers cayers d'une Très
+Riches Heures qui faisoient Pol et ses frères, très richement historiez
+et enluminez_"--a note which refers without a doubt to the MS. of _Les
+Très Riches Heures_ now at Chantilly. Another document of no less
+importance is one drawn up by François Robertet, Secretary to the Duc de
+Bourbon, which informs us that several of the miniatures in the MS. of
+Josephus' _Antiquities_ are by Jehan Fouquet, Court-Painter to Louis XI.
+Thus it has been possible to identify the authentic work of the
+Limbourgs and of Fouquet, some of the finest examples of which are to be
+found in the Musée Condé.
+
+Unfortunately these flashes of light are very rare; and absence of
+record is no doubt one of the chief reasons why French paintings of this
+period were so little known and appreciated in France, and why the
+valuable collection bequeathed by Robert Gaignières to Louis XIV was but
+little valued by that monarch. Trusting to the advice of the ignorant
+critics of the time His Majesty reckoned them as of no importance and
+did not consider the collection worthy of a place in the Louvre; so that
+eventually, in 1717, it was scattered by public auction under the
+directions of the painter de Troy.
+
+Thus it happened that, whilst France was acquiring valuable antiques and
+important examples of the art of the Italian Renaissance, she was unable
+to estimate or retain the art which had sprung up on her own soil. To
+cite one example only: Fouquet's diptych from Melun has been lost to
+France for ever, one portion of it being at Antwerp, another at Berlin,
+whilst the beautiful enamelled frame has disappeared altogether.
+
+Fortunately, however, connoisseurs like Reiset and Mariette arose, who
+bequeathed French fifteenth and sixteenth century pictures to the
+Louvre; and later still this remarkable legacy from the Duc d'Aumale
+restored to France some of her own most valuable treasures. By means of
+these acquisitions this patriotic Prince has constructed a monument to
+French Art which is as interesting as it is unique.
+
+[Illustration: Plate XXVIII.
+
+Photo. Giraudon.
+
+FEBRUARY.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 156._]
+
+The _Cabinet des Livres_ at Chantilly, still just as it was when
+occupied by the Duc d'Aumale, with his chair, his writing-table, his
+reading-lamp and half-burnt candle, contains no less than fourteen
+thousand manuscripts of the very highest importance. The most
+noteworthy amongst these are: the first ten books of St. Augustine's
+_Cité de Dieu_ (translated by Raoul de Presles); Aristotle's _Ethics_
+(translated by Nicolas Oresmes); Livy's _Second Decade_ (translated by
+Pierre Bersuire); all of which at one time belonged to the Duc de Berry.
+Then there is the third volume of the _Gallic War_, a free translation
+of the Commentaries of Cæsar,[31] on the last page of which is the
+following inscription: _Albertus Pichius, auxilio Godofredi pictoris
+Batavi faciebat praecipiete Francisco Molinio mense novembris anno
+quinquimillesimo vigesimo_; whence we derive information regarding the
+date of its completion, the names of the artists who were entrusted with
+it and even the name of the man who commissioned it on behalf of Francis
+I.
+
+Most interesting are a selection of the _Table Ronde_ used by Gaston
+Paris in Vol. XXX of the _Histoire littéraire de la France_ and a copy
+of Dante's _Inferno_ with a _Commentary_ by Guido of Pisa. Furthermore a
+French translation of Cicero's _Rhetorics_ written in 1282 by Master
+Jean d'Antioch and commissioned by a monk called Guillaume de
+Saint-Etienne of the Order of St. John of Jerusalem: a MS. which throws
+interesting light on still more ancient translations and is ornamented
+with fine old miniatures; a French translation of _Valere Maxime_ (in
+two volumes), which belonged to the Cardinal George d'Amboise; a
+translation of _Diodorus Siculus_, with a frontispiece representing
+_King Francis and his Court_; and an illuminated manuscript, known to
+have been the _Book of Hours_ of Anne de Montmorency, offer more than
+ordinary interest. This last belongs to the sixteenth century and
+contains miniatures in the style of Jean Cousin.
+
+Next comes a _Legenda Aurea_, which once belonged to Charles V of France
+and which in its time has travelled back and forth between England and
+France (as was so often the case with old books and manuscripts); for on
+the last page we read in an unknown hand:
+
+    _And yf my pen were better_
+    _Better shuld be my letter._
+
+[Illustration: Plate XXIX.
+
+Photo. Giraudon.
+
+APRIL.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 158._]
+
+Other extremely important MSS. acquired by the Duke himself are the MS.
+_de la Coche de Marguerite d'Angoulême_ and the _Psalter of Queen
+Ingeburge_, of which the Duke was particularly proud. It commences with
+a _Calendar_, followed by a series of paintings on gold backgrounds
+representing scenes from the Old and New Testaments, and dates from the
+thirteenth century. It belonged to Queen Ingeburge, the unhappy and
+neglected wife of Philippe Auguste and in it are entered the names of
+her father, Waldemar the Great, King of Denmark, of her mother, Queen
+Sophia, and of the Comtesse Eleanore de Vermandois, her faithful friend
+during long years of trial, thus proving unquestionably her ownership
+of this precious volume. She has, moreover, entered in it the date 1214,
+the year in which she was recognised as Queen of France. On the last
+page appears the following entry: "_Ce psaultier fut de Saint Loys_,"
+showing that the MS. subsequently came into the possession of St. Louis,
+King of France, himself. In Charles V's _Inventory_, dated 1380, it is
+described as "_mon gros psaultier, nommé le Psaultier St. Loys, très
+richement enlumyne d'or et d'ancien ymages_," and we learn that in 1428
+it was preserved in the Château of Vincennes. From that time, however,
+it disappeared for nearly two hundred years until it was found in
+England by Pierre de Bellièvre, who secured it and presented it in 1649
+to Henri de Mesmes. The miniatures are similar in style to those found
+in English MSS. of the thirteenth century; the colours are luminous,
+black and blue being predominant, and the whole work is painted on a
+gold ground. The initial letters and the decorative caligraphy show
+skilful technique and were evidently designed at the period of which
+Dante speaks as "_L'onor di quell'arte ch'alluminare è chiamata in
+Parisi_."[32] It is very probable that this _Psalter of Queen
+Ingeburge_[33] served as the model for many other illuminated
+manuscripts.
+
+Another noteworthy royal MS. acquired by the Duc d'Aumale which is of
+special importance is the _Breviary_ of Jeanne d'Evreux. Amid the
+delicate decorations of the border around the illuminated text may be
+seen the coats-of-arms of France, Navarre, and Evreux; and it contains
+no less than one hundred and fourteen miniatures in _grisaille_ upon
+coloured and gold backgrounds. The Gothic attitudes and graceful figures
+recall the style of Jean Pucelle, which, dating from the years
+1327-1350, had been introduced into Paris before the coming of Northern
+realism.
+
+Jeanne d'Evreux, wife of Charles IV, was well known as a connoisseur in
+illuminated books, and this exquisite work of art passed to Charles V,
+by whom it was kept at Vincennes in a coffer along with the _Breviary_
+of Belleville.
+
+The small _Book of Hours_ belonging to M. Maurice de Rothschild
+(published in facsimile by Count Delisle), the _Missal of St. Denis_ in
+the Victoria and Albert Museum, the _Book of Hours_ designed for Jeanne
+de France, Queen of Navarre, in the Yates Thomson Collection, form a
+group of beautiful codices which have rightly been compared with this
+MS. of Queen Jeanne d'Evreux.
+
+[Illustration: Plate XXX.
+
+Photo. Giraudon.
+
+MAY.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 160._]
+
+The greatest gem, however, of all these illuminated MSS. is
+unquestionably the precious volume known as _Les Très Riches Heures_ of
+the Duc de Berry. The Duc d'Aumale himself relates the history of its
+acquisition in 1855. On his way to visit his mother Queen Marie Amélie,
+then lying ill at Nervi, he visited the Villa Pallavicini at Pegli,
+near Genoa--at that time a boarding-school for young ladies--in order to
+examine a MS. to which his attention had been drawn by Sir Antonio
+Panizzi, Principal Librarian of the British Museum. Without any
+hesitation he arranged on the spot to purchase the work of art for a sum
+of 18,000 francs. On his return to Twickenham (where he was then
+residing), the Duchess herself carefully unfolded the newly acquired
+treasure from its "_cassetta foderato di velluto_" and every connoisseur
+of note at once hastened to examine the wonderful MS. which the Duke had
+been so fortunate as to acquire. As early as 1857 Waagen wrote about it
+with much detail; later Count de Laborde, Anatol Gruyer, and Leopold
+Delisle followed; and recently, and more exhaustively, Paul Durrieu
+also. But it was Delisle who made the important discovery that the _Très
+Riches Heures_ could be identified with the MS. described in the
+Inventory of the Duc de Berry: "_Item une layette plusiers cayers d'une
+'Très Riches Heures' que faisoient Pol et ses frères, très richement
+historiez et enluminez_." The same writer also discovered that these
+leaflets were valued at 500 _livres tournois_ (about 20,000 francs), a
+very large price for that time, and one which showed the high value in
+which this manuscript was held even at that date.
+
+The death of the Duc de Berry brought these precious pages, begun under
+such brilliant auspices, to a sudden standstill; and in consequence of
+that prince's debts--which arose chiefly from his expensive artistic
+tastes--a sale of his property immediately took place. The Duc de
+Bourbon and the Comte d'Armagnac (the husbands of his two daughters and
+co-heiresses) were making war upon one another on account of the murder
+of the Duc d'Orléans by _Jean Sans Peur_--a war known in history as the
+War of the Armagnacs and the Burgundians. Amid these disturbances there
+was scarcely time to think of illuminated MSS.; for which reason the
+work of Pol de Limbourg and his brothers was suspended, and was not
+resumed until the year 1454, long after their death--unfortunately by a
+far inferior hand--that of Jean de Colombe. By that time the volume had
+come into the possession of Charles of Savoy and his wife Blanche of
+Monferrat. It is not difficult to explain how this _Breviary_ came into
+the House of Savoy--a fact which is proved by the armorial bearings and
+two miniature portraits of Charles--because both husband and wife were
+descendants in direct line from Bonne de Berry (one of the daughters of
+the Duc de Berry), who had first been married to a Count of Savoy. In
+1501 the MS. passed to Margaret of Austria, wife of Philibert of Savoy,
+a Royal patroness of the Arts who corresponded with Jean Perréal
+regarding the tomb of her husband in the church at Brou. By her this MS.
+was provided with a velvet cover and a silver padlock; and she no doubt
+took it to Flanders with her after her husband's death.
+
+[Illustration: Plate XXXI.
+
+Photo. Giraudon.
+
+JUNE.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 162._]
+
+Comte Paul Durrieu identifies the _Très Riches Heures_ with a MS.
+mentioned also in an _Inventory_ of 1523 as "_une grande heure escripte
+à la main_," whereby it can be explained how the _Grimani Breviary_,[34]
+executed about the end of the sixteenth century, and other Flemish MSS.
+have obviously taken this famous Codex as a model; and even in some
+points copied it very closely.
+
+When Margaret of Austria died in 1530 the volume passed into the hands
+of one of her executors, Jean Buffant, Treasurer to the Emperor Charles
+V; and from that time there occurs a gap which even Paul Durrieu has so
+far been unable to fill. The present binding of red morocco leather
+belongs to the eighteenth century and bears the coat-of-arms of the
+Spinola family, which points strongly to the probability that the volume
+also once belonged to the celebrated General Spinola, who captured the
+town of Breda--an historical event immortalised by Velasquez. From the
+Spinolas it came into the family of the Sèvres, a fact proved by another
+coat-of-arms amongst the illuminations; and from a member of that family
+it was acquired by the Duc d'Aumale, by whom it was deposited at
+Chantilly.
+
+From this amazing list of MSS. we may see that nearly all the important
+books and manuscripts of the fifteenth and sixteenth centuries are
+represented at Chantilly. Some portions of the collection go back to the
+old Montmorency and Condé acquisitions; whilst the Duc d'Aumale himself
+has described the origin and vicissitudes of the articles gathered in by
+himself in his admirable work _The Philobiblon Miscellanies_, which will
+always remain the best guide to the _Cabinet des Livres_ at Chantilly.
+
+[Illustration: Plate XXXII.
+
+Photo. Giraudon.
+
+JULY.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 164._]
+
+
+
+
+CHAPTER XIII
+
+_LES TRÈS RICHES HEURES DU DUC DE BERRY_
+
+
+The Duc de Berry was one of those enlightened and enthusiastic patrons
+of Art who, by giving numerous commissions to the artists of his time
+created important centres of Art in Paris and Dijon. It was for him that
+Jaquemart de Hesdin and his school executed the famous _Très Belles
+Heures_ (now dispersed), fragments of which are to be found in the
+Louvre: in the collections of Baron Adolph de Rothschild in Paris; and
+of Prince Trivulzio at Milan: whilst the largest and most interesting
+portion, known as the _Hours of Turin_, once treasured in the Royal
+Library of that city, perished in a disastrous fire in 1904.[35]
+
+It was likewise for the Duc de Berry that the nephews of Malouel, Pol de
+Limbourg and his brothers, painted these famous _Très Riches Heures_ now
+at Chantilly. And that the Duke very greatly admired the work of these
+artists is proved by entries in old _Inventories_, wherein we find that
+he showered valuable presents upon them--pieces of gold (coins), rings,
+etc. He moreover presented Pol the eldest and most eminent of the
+brothers with a mansion at Bourges, where the artist and his wife
+resided until his death.
+
+The Duc de Berry was also one of those collectors whose taste rose above
+that of his time; and who, furthermore, proved to be one of the leading
+spirits in the development of the Art of that period. Besides famous
+painters he also employed the celebrated architect Guy de Damartin to
+build and restore his castles. The discovery of a MS. containing
+architectural sketches of various fortresses (probably drawn by the hand
+of this architect himself) proves that the Duke had a fancy to have his
+various castles introduced with the greatest precision into the
+backgrounds of the miniatures executed for him in this MS. No doubt it
+was by his express wish that the landscape details in the _Calendar_ of
+this famous _Book of Hours_ were copied direct from nature and not
+treated merely conventionally as hitherto.
+
+[Illustration: Plate XXXIII.
+
+Photo. Giraudon.
+
+AUGUST.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 166._]
+
+This remarkable work marks an important epoch in the history of
+Primitive French Art, inasmuch as its influence extended not only over
+France, but also to Italy, Flanders, and the School of Cologne. It
+commences with a _Calendar_ delightfully decorated and illustrating
+minor passing events in the life of the period, with portraits of the
+Duke himself, his family, his friends and other personages.
+
+The Month of January[36] begins by showing us a banqueting scene. The
+Duc de Berry, attired in a richly brocaded mantle and a fur cap, is
+seated before a screen in conversation with a church dignitary--the only
+one among the company besides himself who is seated. Three elegantly
+dressed pages are busy serving a meal, whilst another is playing with
+some pet dogs; puppies being engaged in eating out of a plate upon the
+table. Two cup-bearers stand ready with wine and in a prominent position
+upon the board stands a _nef_. This beautiful example of the goldsmith's
+art was known as the _Salière du Pavillon_ and its design is attributed
+to Pol Limbourg himself.[37] In the background may be seen the Ducal
+guards and one of his castles. The face of the Duke appears to be an
+excellent likeness if we compare it with a Holbein drawing at the Bâle
+Museum, which is said to have been copied from a statue of this prince
+at Bourges. Above this miniature, in a blue and gold lunette, appears
+the _Chariot of the Sun_ drawn by winged horses--a design repeated
+several times in subsequent miniatures.
+
+The Month of February exhibits a bright wintry landscape, where a silent
+village[38] with a church tower lies beneath a mantle of white. The
+feeling of a cold wintry day is well expressed by the heaped-up masses
+of snow, against which the wool of sheep cowering in their folds is
+sharply contrasted. We can almost see the shivers of the man to the
+right, with his mantle drawn close around him. A haystack, bee-hives,
+birds picking up crumbs, a peasant girl warming her feet at an open
+fire, are so delightfully realistic, so free from convention, that we
+feel that the artist has here given free rein to his imagination.
+
+Then follows March: a peasant is ploughing, whilst behind rises the
+fortress of Lusignan, the cradle of the Plantagenets. The sky is blue
+and cloudless, and above one of the towers is a flying dragon, intended
+to symbolise the fair Melusine. A close copy of this miniature is in the
+_Grimani Breviary_.[39]
+
+In the Month of April,[40] with the Castle of Dourdan on the River Orge
+we find a scene characteristic of the period. An exchange of
+presents--presumably an engagement--is in process between a noble knight
+and a richly attired lady. The knight is the same personage who is
+represented in attendance upon the Duke in the banquet scene. Another
+pair of personages look on with sympathetic interest, whilst two young
+ladies gather flowers.
+
+[Illustration: Plate XXXIV.
+
+Photo. Giraudon.
+
+OCTOBER.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 168._]
+
+The fifth miniature (which the Duc d'Aumale designates as _La Reine de
+Mai_)[41] is one of the most charming of the series, for May Day was
+at that time an occasion of much festivity at the Court of France. A
+gay cavalcade is passing through a wood, headed apparently by a Prince
+of the Blood--perhaps even the Sovereign himself--and amid those in
+attendance the knight of the last picture again appears, his head bound
+with a chaplet of bay-leaves. He is turning back to gaze at his bride,
+who rides beside him on a white horse. She wears the same ornaments as
+in the previous picture, and it is by these that we can identify her. In
+the background, silhouetted against the horizon, is the Castle of Riom,
+pleasantly situated in its park and gardens. This picture displays with
+much effect the gaiety of the persons represented, who all seem to be
+engaged in animated converse. Pol de Limbourg evidently approaches in
+this picture his highest capabilities; and becomes more and more
+independent of convention.
+
+In the Month of June[42] the Palais de Justice of Charles V with the
+Sainte-Chapelle are visible in the rear. The reapers shown in this
+composition and the two graceful peasant girls busy amid the fresh-cut
+grass have aroused great enthusiasm amongst modern connoisseurs; and we
+involuntarily recall the paintings of François Millet and the Barbizon
+School--a school which, after nearly four centuries, has revived the art
+of realistic landscape-painting in France.
+
+In the Month of July[43] the lofty towers of the Castle of Poitiers,
+which not long before had been restored by the Duc de Berry, appear in
+the background. And just as the winter landscape of the Month of
+February arouses the impression of winter's snow and ice, so this
+brilliant composition, in which the sunshine blazes upon the cornfields,
+makes one dream of the burning days of summer. The sheep, in February
+huddled together in their pens, are now grazing in a meadow, whilst a
+young peasant woman is busy plying her shears upon their fleecy coats
+and a youth watches her with marked interest.
+
+The Month of August[44] presents a hawking party. Two cavaliers mounted
+on richly appointed steeds, their ladies mounted on pillions behind
+them, are carrying hawks. One lady is, however, courageous enough to
+manage her own palfrey, and holds a hawk upon her left wrist. Behind,
+labourers are pursuing their toil and bathers are sporting in a stream.
+At the back rises the Château d'Estampes which the Duc de Berry had
+recently bought from his brother Louis of Anjou. The landscape is here
+treated with admirable freedom. The artist has painted what he saw, just
+as it really was, and the outlines of the château are represented with
+remarkable fidelity.
+
+The Castle of Saumur appears in the September miniature, where a vintage
+is proceeding with life and vigour.
+
+[Illustration: Plate XXXV.
+
+Photo. Giraudon.
+
+DECEMBER.
+
+Pol de Limbourg.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 170._]
+
+October[45] brings with it ploughing, whilst a man scatters seed only
+to be devoured at once by flights of hungry birds. In the rear various
+groups of figures parade up and down upon a quay before the old Palace
+of the Louvre.
+
+The Month of November is a disappointment. It is conjectured that the
+artist intended to present the Tour de Nesle, the Duke's stately
+town-residence, but that through his sudden death the page was left
+unpainted until a century later, when Jean de Colombe undertook to fill
+it in. It represents a swineherd with his pigs who are grubbing for
+acorns; but the landscape is only a feeble attempt to imitate the
+earlier work. The lunette, however, was evidently painted by the
+Limbourgs.
+
+In December[46]--the last of the series--a hunting-scene is presented,
+with a pack of hounds careering through a spacious park, in the
+background of which is the Keep of Vincennes, the Duke's birthplace.
+This miniature, which somewhat differs in conception from the earlier
+ones, was probably executed by one of the brothers of Pol Limbourg.
+
+The fascinating landscapes and the graceful architecture of these
+_Calendar Months_ excite our keenest admiration; for we must remember
+that at this early date (1415) landscape-painting had hitherto been
+treated as mere decoration, without any attempt at reality or
+probability.[47] Their special charm lies very largely in their
+truthfulness to nature, and the Duc de Berry himself added still further
+to this element when he insisted upon the introduction of accurate
+representations of his own castles and their surroundings.
+
+Immediately after the _Months_ we come upon a strange miniature, which,
+since it also displays the escutcheon of the Duc de Berry, may be
+assigned to the years 1415-16 and is therefore presumably the work of
+the Limbourgs. Two nude figures, classical in conception, are presented
+propped back to back against one another. As in the case of the statue
+found at Porto d'Anzio, doubt has recently arisen with regard to their
+sex.[48]
+
+It has been suggested that these two figures were inspired by the _Three
+Graces_ of Siena; that they are not meant to represent the _Dioscuri_,
+as had been hitherto supposed; but that they are two tall slender women
+such as we find in early Renaissance Art inspired by Greek originals.
+Their tresses are arranged in the characteristic Greek knot and their
+slender bodies exhibit the Astrological and Horoscopical connection
+between the various members of the human organism and the Signs of the
+Zodiac. We do not find amongst the illustrations of the Middle Ages
+anything analogous to this curious painting, so that it may be reckoned
+amongst the many entirely original ideas peculiar to this interesting
+Codex.
+
+[Illustration: Plate XXXVI.
+
+Photo. Giraudon.
+
+THE ZODIAC.
+
+Pol de Limbourg and his Brothers.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 172._]
+
+This curious design is followed by small but exquisite miniatures of
+the _Four Evangelists_ and of the _Tiburtine Sybil prophesying to
+Augustus_. Our attent ion is then drawn to a large design representing
+the _Terrestrial Paradise_. Four different scenes are shown on the same
+plane: _Eve receives the apple from the Serpent_; _she offers it to
+Adam_; _the Almighty interrogating the offenders_; and _their expulsion
+from Paradise_ through a Gothic gateway by a stern-looking angel with
+scarlet wings. This miniature, out of the entire number of not less than
+206, is the only one which exhibits a marked Flemish influence and
+reminds us of the fact that the Limbourgs were nephews and pupils of
+Malouel, Court-Painter to the Duke of Burgundy. All the other miniatures
+in this Codex which can be assigned to these artists are pre-eminently
+French in feeling and sensitiveness, showing only occasionally a trace
+of the influence of Simone Martini: as, for example, _Christ bearing His
+Cross_.
+
+The scenes from the _Life of Christ_ commence after traditional fashion
+with the _Annunciation_ and end with the _Crucifixion_. The
+_Annunciation_ is perhaps one of the most attractive of the series. It
+no longer expresses merely Mediæval symbol but seems rather to simply
+represent a story; so that we feel that we are already on the threshold
+of the Renaissance. The Virgin kneels before a fald-stool in a Gothic
+chapel, whilst the Holy Dove hovers above her head. Smiling with gentle
+content, she welcomes the salutation of the Archangel--a handsome youth
+who bears in his hand a branch of lilies. Tastefully grouped around the
+central composition are angels singing and playing on musical
+instruments, and the whole is executed in most vivid colours. The
+armorial bearings of the Duke, a _fleur-de-lys_ displayed between a bear
+and a swan, have given rise to the canting word _Oursine (ours-cigne)_,
+which is said to have been the name of the Duke's favourite mistress.
+They occur frequently in this MS.
+
+The _Adoration of the Infant Saviour_, with choirs of rejoicing Angels
+around the roof of the stable and Joseph--an Oriental-looking personage
+with a long beard--in deep contemplation, is a representation full of
+novelty and charm. A shepherd, followed by his flock, draws near to gaze
+in awe upon the Divine Babe.
+
+On the next page a number of shepherds are pointing to a choir of angels
+who are singing and making melody in the air, whilst in the distance
+rises a majestic Gothic cathedral, probably intended to represent the
+Temple at Jerusalem. In the foreground is one of those conventional
+hillocks so often met with in old mosaics; but the fountain of running
+water which rises upon it and from which the sheep are drinking is
+realistically conceived. It is interesting, therefore, to note the
+admixture of symbolic tradition with realistic feeling.
+
+[Illustration: Plate XXXVII.
+
+Photo. Giraudon.
+
+THE PROCESSION OF THE MAGI.
+
+Pol de Limbourg and his Brothers.
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 174_.]
+
+The _Procession of the Magi_, again, is an example of the Limbourgs'
+facility in applying new forms to conventional conceptions; and it is
+worth observing how anxious they evidently were to study the special
+wishes of their patron the Duke. We learn from the _Inventory_ of this
+Prince that he was an ardent collector of medals, and that he had bought
+from a Florentine dealer a medal of the _Emperor Constantine_. The
+figure of the most prominent of these three Magi on the left of the
+scene appears to have been copied from this very medal.[49] In the
+background may be noticed the Cathedral of Notre Dame de Paris and the
+Sainte Chapelle. Again two bears are introduced in allusion to the Ducal
+device. In the centre of the picture is a tabernacle of pure French
+Gothic style adorned with figures of prophets and saints. These
+tabernacles were used in the fourteenth century (the Duc d'Aumale
+observes), as halting-places between Paris and Saint-Denis and were
+called _Montjoies_.
+
+The _Fall of the Rebel Angels_[50] which comes next is one of the
+loveliest pages of the series. God the Father, surrounded by Cherubim
+and Seraphim, is enthroned above the golden rays of the Sun. From
+amongst the ranks of the Angels--who are seated around in a
+semicircle--the rebels are being cast headlong to Earth. As Lucifer in
+his fall strikes his handsome head and diadem upon the ground fire
+bursts from him, producing a marvellous colour-effect of gold, blue and
+green.
+
+Although this composition is otherwise entirely symbolical, a body of
+French soldiers clad in armour of that period, with long staves, are
+introduced striking down the angels as they fall from above. This
+wonderful little design, although not more than 10 inches wide, is so
+full of action that it has been compared to the Signorelli frescoes at
+Orvieto; and this not without reason, for these miniaturists have, even
+on so tiny a scale, produced very much the same forcible effect.
+
+In direct contrast to this awe-inspiring composition is _The Coronation
+of the Virgin_[51] shown here with a fine combination of grandeur and
+elegance in style. Our Lady's mantle is rainbow-hued and her dress of
+pure white is powdered with golden _fleur-de-lys_. Angels bearing her
+crown descend from above, whilst Our Lord Himself raises His hands in
+blessing. On the right are the Apostles and a group of female Saints,
+one of whom is said to be a portrait of _Oursine_ herself. On the left
+is a bishop attended by monks. This miniature seems to be a prototype of
+a painting by Enguerrand Charonton, executed about half a century later
+and now at Villeneuve les Avignon.
+
+[Illustration: Plate XXXVIII.
+
+Photo. Giraudon.
+
+THE FALL OF THE ANGELS.
+
+Pol de Limbourg and his Brothers
+
+From the "Très Riches Heures du Duc de Berry."
+
+_To face page 176._]
+
+_The Temptation of Our Lord_ deserves somewhat special attention. The
+scene is represented as taking place upon a conventional mountain-top;
+and Satan is pointing to a castle with three towers: none other than
+the Duke's celebrated Castle of Mehun-sur-Yèvre,[52] described by
+Froissart as the most beautiful place on earth.
+
+In the _Crucifixion_, in accordance with the Biblical text, the artists
+have endeavoured to represent eclipses of the Sun and of the Moon, thus
+creating for the first time, as early as 1415, that _chiaroscuro_ which
+later on was so much admired when employed by Rembrandt and Correggio.
+
+_The Miracle of the Loaves_, within its graceful frame, is also
+extremely interesting; and not less noteworthy is a _Plan of Rome_,[53]
+in which may be observed the old basilica of St. Peter, Santa Maria
+Maggiore, the Lateran, the Colosseum and the Capitol, the equestrian
+statue of Marcus Aurelius, the aqueducts, etc. Nothing is to be seen of
+the Forum, for at that time no excavations had yet been made.
+
+In conclusion we must mention the exquisite miniature representing _Mont
+St. Michel_, with the dragon and St. Michael fighting in the air, a lake
+and sailing-boats below, and the effigy of the fair Oursine enshrined in
+the letter B.
+
+Attempts have been made from time to time to trace throughout these
+beautiful pages the different hands of the three brothers, but no
+definite conclusion has been arrived at. It is, however, certain that
+Pol, the greatest of the three, was the leading spirit, and that he was
+the sole author of the _Calendar Months_, except that of _November_,
+which, as has already been mentioned, was completed seventy years later
+by Jean Colombe. In this design, and likewise in that part of the book
+executed by this latter artist, the originality which fascinates us so
+much in the work of the Limbourgs suddenly vanishes and we find
+ourselves contemplating mediocrity. In the _Pietà_ (one of Jean
+Colombe's miniatures) kneeling figures of the Duke and Duchess of Savoy
+are introduced. We cannot help wondering what different results might
+have been achieved had Duke Charles of Savoy, on inheriting the _Très
+Riches Heures_, employed Bourdichon or Perréal to complete them--or
+perhaps Simon Marmion of Valenciennes, who at that very time was
+painting his celebrated altarpiece for St. Bertin. Unfortunately this
+prince was not a connoisseur like his august relative the Duc de Berry,
+and he was unable in consequence to distinguish great art from lesser
+achievements.
+
+[Illustration: Plate XXXIX.
+
+Photo. Girandon
+
+THE CORONATION OF THE VIRGIN.
+
+Pol de Limbourg and his Brothers
+
+From The "Très Riches Heures du Duc de Berry."
+
+_To face page 178._]
+
+
+
+
+CHAPTER XIV
+
+JEAN FOUQUET OF TOURS
+
+
+It is reasonable to inquire with some misgiving whether the _Très Riches
+Heures du Duc de Berry_[54], so far surpassing all other artistic
+creations of its period, are the only record of the labours of Pol de
+Limbourg and his brothers which has come down to us. This would seem to
+be almost the case, if we except the _Belles Heures de Jean de Berry_
+(now in the possession of Baron Edmond de Rothschild,) which was the
+_livre de chevet_ of the Duke and is far smaller in dimensions than the
+_Très Riches Heures_.
+
+We can trace in the _Bible Moralisée_ (_MS. Français_ 166 Bibl. Nat.)
+miniatures strongly recalling the style of the Limbourgs, and if we
+proceed to compare some of its later pages, supposed to have been the
+work of the young Fouquet, with similar subjects as in the Chantilly
+Codex a distinct resemblance can be observed. For instance a
+representation of _Paradise_ in the _Bible Moralisée_ closely resembles
+the Limbourgs' treatment of the same subject in the _Très Riches
+Heures_. A few pages farther on the same scene appears, attributed once
+more and not without reason to Fouquet--probably an early work--which
+shows the decided influence of his predecessors and tends to suggest
+that Jean Fouquet of Tours must have been a follower of Pol de Limbourg.
+At any rate his taste for landscape-painting is already in evidence
+here, and from the first he appears to have clearly grasped the fact
+that his predecessors' greatness lay very largely in this branch of the
+art of painting, so that he specially laid himself out to make it his
+own also. The banks of the Loire and the country surrounding his native
+town of Tours were his favourite subjects, and his treatment of these
+provoked the fervent admiration of his Italian friend Florio.
+
+[Illustration: Plate XL.
+
+Photo. Giraudon.
+
+ETIENNE CHEVALIER AND HIS PATRON SAINT KNEELING BEFORE THE VIRGIN.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face plate XLI._]
+
+Fouquet was born in 1415, and was already famous when Louis XI ascended
+the Throne of France, and made him his Court-Painter. He was, moreover,
+well known in Italy before 1443; for he was commissioned whilst in Rome
+to paint a portrait of _Pope Eugenius IV_ which is known to have been
+long preserved in the Sacristy of Santa Maria sopra Minerva, but which
+has only come down to us in a mediocre engraving. Filarete in his
+_Treatise on Architecture_, dedicated to Francesco Sforza, speaks of
+Fouquet as famous for portraits from life, and mentions this very
+portrait of the Pope, together with those of two members of his family.
+His name was still remembered in Italy in the sixteenth century (he died
+before 1480), for Vasari mentions him as _Giovanni Fochet assai lodato
+pitor_. And Jean de Maire of Belgium, who lived at the Court of that
+highly cultured patroness of the Arts, Margaret of Austria,
+daughter of the Emperor Maximilian, recalls Fouquet with highest
+commendation. Indeed this princess, according to an _Inventory_ of 1516,
+seems to have owned a small _Madonna_ painted by this master: "_Un petit
+tableau de Notre Dame bien vieux de la main de Fouquet ayant etuy et
+couverture_."
+
+[Illustration: Plate XLI.
+
+Photo. Giraudon.
+
+THE VIRGIN AND CHILD RECEIVING HOMAGE
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 180._]
+
+We know that Fouquet painted the portraits of _Charles VII_ and of
+_Juvenal des Ursins_ in the Louvre, and also a recently acquired
+portrait of a _Man with a Glass of Wine_. The life-sized portraits of
+_Etienne Chevalier attended by his Patron Saint_ at Berlin and the
+powerful likeness of an _Unknown Personage_ in the Lichtenstein Gallery
+are by his hand. But although he won great fame as a portrait-painter
+during his lifetime it is upon his achievements as a worker in miniature
+that his highest reputation is based.
+
+[Illustration: Plate XLII.
+
+Photo. Giraudon.
+
+THE MARRIAGE OF THE VIRGIN.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 182._]
+
+A very large number of the collections of miniatures have fortunately
+been spared to us, and they have come down to us in almost perfect
+condition. The most important may be enumerated as follows: the
+_Statutes of the Order of St. Michael_; the _Boccaccio_ at Munich; the
+_Book of Hours_ painted for Etienne Chevalier; the _Chronique de France_
+in the Bibliothèque Nationale; some _MSS._ now in the possession of Mr.
+Yates Thomson; and, finest of all, the _Antiquitates Judæorum_ of
+Josephus. In the _Statutes of the Order of St. Michael_ (_MS._ 19819
+Bibl. Nat.) Louis XI, as Founder of the Order, is portrayed surrounded
+by his thirty-six Knights. A similar miniature, but of somewhat greater
+dimensions, forms the frontispiece of the _Boccaccio_, which was
+executed for the Controleur Laurens Gyrart and is now in the Public
+Library at Munich. Count Paul Durrieu believes--and not without
+reason--that all the miniatures in this Codex are by Fouquet himself. On
+the frontispiece, a leaf not more than 20 inches square, Charles VII is
+depicted surrounded by about 150 dignitaries--judges, magistrates,
+etc.--passing judgment on Duc Jean d'Alençon. The scene is laid at the
+Castle of St. George in Vendôme, and amongst those present is Etienne
+Chevalier and the artist himself.[55] Most realistically conceived are
+the crowd of onlookers, some of whom, pushing forward, are being
+vigorously repressed by the guards. The _Chronique de France_ (_MS.
+Français_ 6465 Bibl. Nat.), in which fifty-five illustrations record
+events in the _Life of Philippe Augustus_, one of them showing the
+_Coronation of Charlemagne_ in the old Basilica of St. Peter at Rome, is
+another work by Fouquet which is full of points of interest. His
+illustrations to the French translation of the _Antiquitates Judæorum_
+of Josephus--now in the Bibliothèque Nationale, Paris--are usually
+reckoned as his _chef d'oeuvre_. The Duc de Berry had, in the first
+instance, commissioned André Beauneveu to execute this MS., but
+presently it came, by way of inheritance, into the hands of Jacques
+d'Armagnac, Duc de Nemours, who engaged Fouquet to complete the
+unfinished work. A note in the first volume of this MS. by François
+Robertet, secretary to Pierre de Beaujeu, Duc de Bourbon, records that
+the first three miniatures in that volume were by the Duc de Berry's
+artists, and the rest by Louis XI's "good painter and illuminator--Jean
+Fouquet of Tours." It is by this note that we are enabled to identify
+Fouquet's work. Subsequently the Codex became the property of Catherine,
+daughter of the murdered Duc de Nemours, who on her marriage to the Duc
+de Bourbon brought the treasure to the Court of Moulins. When, a century
+later, the last Duc de Bourbon, the famous Constable, was killed at the
+Sack of Rome, since he had no heirs and was an exile and fugitive from
+France, all his property, including this Codex, was confiscated and
+passed to the Crown. In course of time the second volume became
+separated from the first, and having strayed to England, eventually
+found its way into the Library of Colonel Townley, whence it was sold in
+1814. At that time it still contained thirteen miniatures. It was not,
+however, until 1905 that it reappeared once more at a sale at Sotheby's
+when it contained but one miniature![56] Here it was secured by Mr.
+Yates Thomson, who recognised its author. Two years later Mr. Warner,
+Librarian of the Royal Library at Windsor, identified ten illuminated
+miniatures, then in the possession of King Edward VII, as the work of
+Fouquet and furthermore as belonging to the very MS. acquired by Mr.
+Yates Thomson. His Majesty graciously consented to unite his precious
+fragments with those of Mr. Yates Thomson, and the two owners agreed to
+present the whole work to President Fallières. Thus the two volumes were
+once more reunited after a separation of many centuries; but with two
+sheets still missing. The illuminations harmonise in every respect
+throughout, except that the designs in Volume I are somewhat superior to
+those in Volume II. Amongst them one representing the _Children of
+Israel led into Captivity by King Shalmaneser_ is most interesting and
+exhibits Fouquet at the zenith of his powers. We may specially notice
+the exquisitely beautiful landscape and the horses, which recall the art
+of Pisanello. Another scene labelled _Clementia_ shows the _Return from
+the Captivity_; and here we may observe a curious blending of classic
+architecture with the French domestic style of the painter's own day.
+This Codex of Fouquet's recalls the _Belles Heures_ of Ailly mentioned
+above, which is considered to be an early work of the Brothers Limbourg
+(_i.e._ circa 1403-13).
+
+[Illustration: Plate XLIII.
+
+Photo, Giraudon.
+
+THE ANNUNCIATION.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 184._]
+
+But of all the MSS. illuminated by this artist the one which must most
+particularly attract our attention is the _Book of Hours_ executed for
+Etienne Chevalier, the greater part of which is now preserved at
+Chantilly. Almost all these miniatures are reminiscent of impressions
+received by Fouquet during residence in Florence and Rome. They were
+apparently executed during the years 1453 and 1460, soon after his
+return from Italy and immediately after the completion of the celebrated
+diptych of _Etienne Chevalier and his Patron Saint_ and the _Madonna and
+Child_ commissioned by this same Chevalier in 1453 for the Cathedral at
+Melun in memory of his wife Catherine Buti. One portion of this diptych
+(the _Madonna and Child_) is now, as mentioned above, in the Antwerp
+Museum, whilst the other has found its way into the Kaiser Friedrich
+Collection at Berlin. The miniatures at Chantilly, forty in number,
+represent, if not the greatest, at least the most fascinating period of
+the master's artistic career. Like the MS. of the _Antiquitates
+Judæorum_ they also suffered many vicissitudes before finally entering
+the haven of the Musée Condé. Nicolas, Baron of Navarre and Bearn, a
+descendant of Etienne Chevalier, in the year 1630, when at the point of
+death entreated his nephew, to whom he bequeathed his manuscripts, to
+preserve and augment them "_en faveur des gens doctes_." Howbeit that
+same nephew sold not only the _Boccaccio_ to Munich, but also his
+ancestor Etienne Chevalier's _Book of Hours_. Whilst the former remained
+intact the latter was mutilated by a dealer, who separated the text from
+the miniatures in order to sell them individually. It is interesting to
+note here that Gaignière in his _Receuils_ had copies made of the
+portraits of Etienne Chevalier and of Charles VII from this MS. and
+attached to them explanatory notes, as follows: "_Charles VII copié
+après une miniature dans une prière d'heures faite pour Etienne
+Chevalier, trésorier general de France sous ce Prince_"; and again,
+"_Copie d'après une miniature dans un livre d'heures qu'il avait fait
+faire_."
+
+We may therefore gather from these notes that as late as the seventeenth
+century the illustrations in this _Book of Hours_ had not been divided
+from the text. At the beginning of the eighteenth century, however, the
+portraits were again reproduced by Montfaucon; but this time they were
+not copied from the originals, proving that the learned Benedictine
+writer was then unable to discover their existence. Eventually in 1805
+forty of these treasures were discovered at Bâle and bought by George
+Brentano la Roche of Frankfurt, whence in 1891 they passed to the Duc
+d'Aumale. Besides these forty, four more pages have been identified as
+belonging to this same book, as follows: one in the British Museum,
+which represents _David_ kneeling in prayer amid a beautiful landscape;
+a _Mariensippe (Genealogy of the Blessed Virgin)_ in the Bibliothèque
+Nationale, Paris; a fragment in the Louvre representing _St. Margaret_
+with a landscape background; and yet one more, _St. Martin dividing his
+mantle_, in the Conches Collection.
+
+[Illustration: Plate XLIV.
+
+Photo. Giraudon.
+
+THE VISITATION.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 186._]
+
+The forty miniatures at Chantilly are hung upon the walls of the
+_Santuario_--so called by the Duc d'Aumale because it sheltered his
+greatest treasures--_i.e._ the forty Fouquets, Raphael's famous
+_Graces_, the beautiful painting of _Esther before Ahasuerus_ and the
+_Madonna_ of the Maison d'Orléans.
+
+The miniature representing _Etienne Chevalier with his Patron St.
+Stephen_[57] was intended as a frontispiece for this beautiful book. The
+powerful Lord High Treasurer of France is represented humbly kneeling,
+his eyes fixed steadily upon the Divine Mother, who, crowned and seated
+beneath a Gothic canopy, holds upon her lap the Holy Babe.[58] To the
+left angels are singing and playing upon musical instruments, whilst a
+band of children clad in white timidly adore their Infant Saviour. The
+architecture in the rear of the composition is of special interest, for
+Gothic niches enshrining figures of the Prophets are intermingled with
+panels in the style of the Italian Renaissance and Corinthian columns
+after the manner of Brunelleschi and Michelozzo. A rich display of gold
+in this miniature gives to it a strongly symbolic character, and may be
+likened to the dying rays of the sun of Mediæval Art, to which the
+artist desired to be not wholly indifferent. These exquisite designs
+clearly exhibit the genius of an artist who had been profoundly
+impressed by a sojourn in Italy, who had greatly profited thereby and
+who, by assimilating into his own individuality the fruit of his studies
+abroad, became a pioneer of pictorial art in his native land. The
+likeness of the donor himself is especially attractive, for it appears
+to have been taken direct from life, and, in spite of its smaller
+dimensions, is superior to the life-size portrait of the same person
+now at Berlin. It is this smaller presentation that Gaignières has
+copied in his Receuils.
+
+[Illustration: Plate XLV.
+
+Photo. Giraudon.
+
+THE BIRTH OF ST. JOHN THE BAPTIST.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 188._]
+
+_The Marriage of the Virgin_[59] is another scene of great interest. The
+high-priest, arrayed in mitre and vestments, places the hand of Mary in
+that of Joseph, the chosen suitor, who bears his budding rod. Like so
+many of the artists of that period, the painter has taken his scene from
+the _Legenda Aurea_ of Jacopo da Voragine, which tells us how Mary up to
+the age of fourteen years had lived in the Temple and had there taken a
+vow of virginity. Howbeit God commanded the High Priest Abiathar to
+assemble all the unmarried men of the House of David and to give to each
+a rod, upon which they were to inscribe their respective names. These
+rods were then placed upon the Altar and to the owner of the one which
+blossomed first the Blessed Virgin Mary was to be assigned. To this
+extremely solemn act Fouquet gives a semi-humorous note by the
+introduction of a realistic figure of Falstaffian proportions and a
+group of disappointed suitors. In the background behind the principal
+group St. Anne may be seen clad in exactly the same fashion as in the
+_Mariensippe_ in the Bibliothèque Nationale. The style of the Temple
+architecture gives the artist opportunity for introducing reminiscences
+of Rome. In the broad frieze of fighting warriors we can recognise part
+of Trajan's column; whilst the columns which flank the central arch
+record the gilt bronze columns once grouped around the _Confession of
+St. Peter_ in the old Basilica. These were, of course, in Fouquet's time
+still _in situ_ and they reappear in the miniatures of the _Antiquitates
+Judæorum_ in a scene where the victorious _Pompey enters the Temple in
+triumph_.
+
+As a strong contrast to this composition, where Renaissance and classic
+architecture are happily blended, the _Annunciation_[60] transports us
+to the Sainte-Chapelle in Paris; and we can recognise the long
+stained-glass windows, the bronze lustres and the shrine which in
+Fouquet's day was raised on pillars behind the high altar. Here all is
+pure French Gothic impressed with the spirit of St. Louis. The action
+takes place in the foreground; Mary, modest and girlish of mien, and the
+Archangel, a prototype of those heavenly beings who figure in Jean
+Perréal's triptych at Moulins.
+
+The scene of the _Visitation_[61] is a portico supported by marble
+columns, upon the frieze of which is inscribed the words "_Maistre
+Etienne Chevalier_." The graceful figure of Mary closely resembles that
+in the preceding illumination, while St. Elisabeth is presented in the
+garb of a Flemish housewife. An obviously French servant to the right,
+with dress tucked up and broom in hand, strikes once more that note of
+realism which attracts Fouquet so much. In the background is to be seen
+a well, around which children are playing.
+
+Next follows the _Birth of St. John_[62] in the chamber of a French
+home. To the left neighbours come to present their congratulations. Two
+women prepare the bath and the linen, whilst the new-born infant sits
+quietly upright upon the Virgin's lap, who gazes down upon him with
+tender affection. That this figure is intended to represent the Mother
+of God is indicated by the fact that her nimbus is unusually large. In
+the Ghirlandajo frescoes of this scene at Santa Maria Novella there is
+also a figure which appears to be intended for the Virgin Mary; but very
+few artists besides Fouquet have introduced her into their presentations
+of this episode. Zacharias is clad in the robes of a lawyer. Beneath the
+scene are two quadrangles, in the first of which is inscribed the letter
+D, and within it is a soldier holding a shield, which in turn bears the
+initials E. C. (_Etienne Chevalier_). These initials occur repeatedly in
+the frieze running round the page. In the second quadrangle, where
+should have been the first words of the _Magnificat_, there is painted a
+lamb and a tasteless wreath of roses, evidently an interpolation
+introduced by the same hand that separated the text from the miniatures,
+which we may observe again in no less than nineteen out of the forty
+miniatures now at Chantilly. This composition of the _Birth of St. John_
+exhibits, perhaps more than any of the preceding, the freedom with which
+Fouquet treats these Biblical scenes.
+
+[Illustration: Plate XLVI.
+
+Photo. Giraudon.
+
+THE ADORATION OF THE MAGI.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 190._]
+
+The same free tendency may be observed also in the _Nativity of Christ_
+and in the _Adoration of the Magi_. This time and in both these scenes
+the artist has chosen neither the columns of a Gothic church nor a Roman
+temple, but remains faithful to tradition and presents the stable of
+Bethlehem. In the _Nativity_ we may perceive to the right the angel
+announcing to the shepherds the Birth of Christ. Hard by is a cavern, in
+which, according to the legend, the shepherds took shelter from a
+thunderstorm. The Infant Christ is extended upon the Madonna's blue
+mantle and St. Joseph kneels between the ox and the ass. A humorous note
+is again introduced by a shepherd playing on the bagpipes.
+
+The Magi in the next scene are personified by the French King, Charles
+VII himself, and his two sons--the Dauphin, afterwards Louis XI, and his
+younger brother, the Duc de Berry, then a mere boy. The presence of the
+Royal Guard clad in white and wearing helmets, leaves no doubt as to who
+the personages were whom Fouquet intended to represent. The fortified
+castle in the background is the Château de Chinon, whither Charles VII
+retired during the English occupation of Paris and where he received
+Joan of Arc.
+
+Another illumination worthy of note is the _Betrayal_. The light which
+pierces the dark shadows and illuminates the scene itself is very
+remarkably treated.
+
+The _Crucifixion_ in this series does not attain to the high level of
+the similar episode in the _Très Riches Heures_. Its chief attraction
+lies in the landscape, wherein, however, instead of Jerusalem and the
+brook Cedron, Paris appears with the Sainte-Chapelle and the river
+Seine. In the background the death of Judas Iscariot is most
+dramatically represented. The _Crucifixion_ scene in the _Très Riches
+Heures_ is, as we have already remarked, a most powerful creation, and
+by the introduction of _chiaroscuro_ Pol Limbourg succeeded in producing
+an effect which Fouquet, however much he may have admired it, did not
+attempt to imitate. He laid greater stress upon the _Descent from the
+Cross_. Amongst the men and women grouped around the Dead Saviour the
+mourning figures of the Holy Mother and near her of SS. Mary Magdalene
+and John, are clearly indicated. Joseph of Arimathæa holds a vase of
+ointment, while a man with a peaked turban close at hand has been
+pointed out as Gamaliel, the teacher of St. Paul.
+
+[Illustration: Plate XLVII.
+
+Photo. Giraudon.
+
+THE ASCENSION.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 192._]
+
+Fouquet's power reaches its climax in the _Ascension_. Our Lord,
+surrounded by angels, is borne to Heaven on a cloud, and beneath Him
+golden rays apparently assist in raising Him upwards. Amongst the
+disciples gazing Heavenwards may be singled out the powerful figure of
+St. Peter, its simple grandeur reminding us of the creations of Masaccio
+in the Brancacci Chapel in Florence, which Fouquet must have seen and
+from which he seems to have drawn inspiration. The figure of the
+Virgin Mary is also most impressive. No longer the sorrowing Mother
+bowed down by grief as in the _Descent from the Cross_, she here appears
+as the Mother of Christ the King of Heaven, and she shares His victory
+over Hell and Death.
+
+In the _Descent of the Holy Ghost_ Our Lady is seated upon a golden
+throne and takes a more prominent part than is usually assigned to her
+in other representations of the same scene.
+
+Next to this comes the _Annunciation to the Blessed Virgin of her
+approaching death_; and in accordance with the _Legenda Aurea_ the
+Archangel Gabriel is presenting her with the palm of Paradise. This is a
+somewhat unusual scene,[63] and proves that Fouquet must have studied
+these legends with considerable care.
+
+In the next illumination, representing _Mary's Obsequies_, the same palm
+is borne by St. John, whilst St. Peter is one of the bearers of the
+bier.
+
+Fouquet's presentation of the _Coronation of the Virgin_ does not, as
+with the Limbourgs or Enguerrand Charonton, take place in Heaven, but in
+a hall richly decorated in the Renaissance style where the same
+Corinthian columns are introduced that appear in the _Frontispiece_.
+
+But one of the most remarkable compositions of the entire series is the
+_Enthronement of the_ _Virgin_, a scene which Bossuet describes as
+follows: "_Le ciel aussi bien que la terre a ses triomphes, et
+l'exaltation de la Sainte Vierge dans le trône que son fils lui destine
+doit faire un des beaux jours de l'éternité_." And Fouquet does indeed
+depict this scene in a glow of colour which affords a vivid idea of
+triumphant festivity. The Virgin, clothed in white, is seated beneath a
+Gothic canopy to the left of the Trinity. Above her are countless angels
+and below saints, priests and prophets who are praising God in concert.
+Anatol Gruyer speaks of this miniature as the most important of all:
+"What Dante so well described in the _Divina Commedia_ Fouquet painted
+with masterly hand. It is a painting which may be described as sublime."
+
+This wonderful series is brought to a close with a representation of _La
+Toussaint_.[64] Our Lord, surrounded by angels, is enthroned between the
+Virgin and the beloved disciple St. John. Below are seated apostles and
+saints, amongst whom we can again discover Etienne Chevalier clad in a
+red mantle beside his Patron Saint. On the opposite side kneels his
+wife, Catherine Buti.
+
+[Illustration: Plate XLVIII.
+
+Photo. Giraudon.
+
+ALL-SAINTS'-DAY.
+
+Jean Fouquet.
+
+Musée Condé.
+
+_To face page 194._]
+
+Hung separately in the _Santuario_ at Chantilly these forty miniatures
+of Fouquet form an important monument of French fifteenth-century Art
+and provide strong evidence that French works of the highest merit
+certainly existed at that time. Their present scarcity is no doubt due
+to vandalism and wilful destruction. In these miniatures are apparent
+all the qualities so characteristic of French Art, _i.e._ its exquisite
+grace, its adaptability to foreign elements without loss of its own
+individuality, its sense of humour, its restrained realism and its
+overmastering love for Nature.
+
+
+
+
+CHAPTER XV
+
+JEAN PERRÉAL AND BOURDICHON
+
+
+It is hardly conceivable that a master like Fouquet, so famous as a
+painter of miniatures and portraits, should really have left no
+followers. Indeed, it has been said that he ought to have been succeeded
+by a French Raphael. Unfortunately the adverse circumstances which
+surrounded French Art at that period prevented Fouquet's followers from
+arriving at the eminence achieved by their master.
+
+We hear of frescoes in the house of Joan of Arc, executed by some
+unknown artist in 1481 (the year of Fouquet's demise), which represented
+that great heroine and her noble deeds. Had they but survived an
+interesting page of history would have come down to us and we might have
+even possessed an authentic likeness of her. Montaigne, when passing
+through the country of Lorraine on his way to Italy, saw these
+paintings, and makes mention of them in his _Journal_[65] as follows:
+"_La maisonette où naquit Jeanne d'Arc est toutes peintes de ses gestes;
+mais l'orage en a fort corrompu la peinture_"--a further proof of the
+havoc played upon early French Art by time and neglect.
+
+A younger contemporary of Fouquet was Simon Marmion, who lived at
+Valenciennes and is chiefly known to us by his fine altarpiece at
+Saint-Bertin: a composition now divided between Berlin and London.
+Moreover, two of Fouquet's sons served their father as assistants and to
+them may be ascribed some of the works of his school--such, for
+instance, as a miniature representing an _Angelic Choir_ shown at the
+Exhibition of Illuminated MSS. arranged by the Burlington Fine Arts Club
+in 1908.
+
+Bourdichon and Jean Perréal, Jean Payet and Jean Colombe may be
+considered as followers of Fouquet; yet documentary evidence is very
+scanty. It is true, however, that there exist some fragments of
+historical information which would seem to allude to their work; as, for
+example, the following fact. Some fifty years ago cartridges which had
+been made up during the time of the Revolution in default of other
+material out of old manuscripts and contracts were found in the arsenal
+of the Hôtel des Invalides; and it was to Comte de Laborde that the idea
+occurred of making a closer investigation of the composition of these
+cartridges. After a careful study of those time-worn and crumpled
+fragments he discovered upon one of them the name of Bourdichon and with
+it the additional facts that he resided in the town of Tours, where
+Fouquet was born; that his birth took place in 1457; that at the early
+age of twenty-one he was entrusted with the execution of certain
+frescoes in a chapel; and that he was Court-Painter to Charles VIII,
+whose portrait he painted, as well as that of his Queen, Anne de
+Bretagne. A small portrait of her son, _Prince Orlant_,[66] who died in
+childhood, has been attributed to Bourdichon; and a similar portrait,
+representing his younger brother _Charles_, which came to light only
+recently[67] and was acquired by the Louvre, is evidently by the same
+hand.[68]
+
+Bourdichon's skill can be traced with greater certainty in various
+_Books of Hours_[69]: _i.e._ the "_Heures d'Aragon_," a small volume
+adorned with graceful miniatures considered by M. E. Mâle to be one of
+his early works; while the _Prayer Book of Anne de Bretagne_, which is
+authenticated by a document dated 1508 (Bibl. Nat.), is a later and more
+finished achievement. Compared, however, with Fouquet's style, the work
+of Bourdichon seems like wine diluted with water, whilst the total
+absence of landscape from the backgrounds of his miniatures gives to his
+figures an unusually cold appearance. His _Madonna_ is distinguished-looking
+but rather rigid and devoid of expression; his _Magdalen_ though
+poetical seems lifeless; and as for the portrait of _Queen Anne_
+herself and her companions on the _Frontispiece_ it is purely
+conventional without attempt at aiming at a likeness. Instead of
+the landscapes which form so fascinating a part of the work of his
+predecessors we find him introducing great masses of flowers on the
+margins of the illuminations. The Queen who commissioned the book
+evidently was devoted to flowers; and thus Bourdichon, probably at her
+express command, brought them in wherever he could. We must indeed give
+him credit for a vast amount of charm and delicacy in the execution
+of these lovely flowers and they form a very perfect and beautiful
+decoration.
+
+Although M. Bouchot mentions the name of Bourdichon more than once in
+reference to certain drawings at Chantilly there is nothing amongst the
+treasures of the Musée Condé which really can be attributed to him with
+any certainty.
+
+With Jean Perréal it is different. He is the artist who has been
+identified by some authorities with the mysterious _Maître de Moulins_.
+It was M. de Maulde and Henri Bouchot who first propounded this theory;
+and they were supported by Mr. Roger Fry and M. Hulin after the
+Exhibition of the French Primitifs in 1904, where a number of works
+supposed to be by this master were arranged in definite order for
+comparison purposes.
+
+We know that Perréal at the beginning of his career lived at Moulins,
+where he held the post of Court-Painter to Duc Pierre de Bourbon; and
+that there he had the opportunity of studying Fouquet's miniatures in
+the _Antiquitates Judæorum_, then an heirloom in the Ducal Library. Like
+Bourdichon Perréal appears to have had no taste for landscape, and it
+was chiefly portraiture that attracted him. This branch of art was, in
+fact, the prevailing interest of his time, and that so-called
+_inquiétude du portrait_ manifested itself more or less strongly in the
+miniature-painting of the fifteenth and sixteenth centuries until it
+almost entirely superseded all landscape work. We find an excellent
+portrait, for instance, of _Charles V of France_ in the _Heures
+d'Anjou_[70] and another in the _Bible Historiée_[71].
+
+The well-known portrait of _Jean le Bon_, father of Charles V of France,
+in the Bibliothèque Nationale is considered to be the prototype of
+French portraits, and it is therefore not inopportune to compare it with
+the later portraiture. It was discovered by Gaignières at Oyron, an old
+château of the Gouffier family, and was the only painting which the
+Regent in 1717 thought worth keeping out of the sale of this collector's
+treasures. It is ascribed to Girard d'Orléans, who is recorded as having
+assisted Jean de Coste to decorate the Château de Vaudreuil. Girard is
+also known to have accompanied the King to England, when the latter was
+held prisoner there after the Battle of Poitiers. It is not improbable
+that this portrait--which is one of a set of four--was painted during
+his captivity.[72] Executed in England it no doubt gave an impulse to
+English Art of the same kind; although it is an undisputed fact that at
+that period there already existed the paintings in St. Stephen's Chapel
+at Westminster,[73] through which England would appear to have a reason
+to claim--as suggested by Mr. Lionel Cust[74]--priority in time over
+France. On the other hand, there is nothing in England to compare with
+the exquisite miniature portrait of the _Duc de Berry_ in the _Très
+Riches Heures_ or with the work of Fouquet half a century later. The
+portrait in the _Très Riches Heures_ of the _Duc de Berry_--who, by the
+way, along with his brother Louis d'Anjou, shared their father's
+captivity in England--was most probably painted from life, since it has
+that note of realism which is so characteristic of all French Art.
+
+Another remarkable portrait is that of _Louis II of Anjou_, King of
+Sicily, also copied by Gaignières. Its date is 1415 and a miniature of
+it is to be found in the _Livre d'Heures_ which once belonged to King
+René.[75]
+
+We hear also of an artist whom Charles VI, when choosing a consort, sent
+to the various Courts of Europe to paint the portraits of eligible
+Princesses. The name of this artist has, unfortunately, not come down to
+us.
+
+[Illustration: Plate XLIX.
+
+Photo. Giraudon.
+
+SEIGNEUR DE PALISSE.
+
+Attributed to J. Perréal. (About 1515).
+
+Photo. Giraudon.
+
+COMTE DE LIGNY.
+
+Attributed to J. Perréal. (About 1505).
+
+Musée Condé.
+
+_To face page 202._]
+
+Fouquet, following in the steps of the Limbourgs, unquestionably gave
+fresh impetus to French portraiture and it is not unreasonable to
+suggest that the portraits of the so-called _Preux de Marignan_ at
+Chantilly are sufficiently similar to his style as to be attributable at
+least to the same school. Before, however, bringing forward the
+proposition that these drawings may reasonably be ascribed to Jean
+Perréal we must first refer to the _MS. de Saint Michel_,[76] which is
+assigned to that master by no less an authority than Comte Paul Durrieu.
+And here, at least, we have some historical proof on which to rely. The
+Dedication to the King on the first page shows that this manuscript was
+a present from the Duc de Bourbon to his young Sovereign; and it is
+unlikely that the Duke would have employed upon this occasion anyone
+else rather than his own Court-Painter whom he might perhaps have
+desired to bring under the King's notice. On one of the pages of this
+manuscript Charles VIII, who was delicate and small of stature,
+appears wrapped in a wide mantle which imparts to him an air of
+importance. As St. Michael, he stands between two courtiers and is
+surrounded by angels, who bear a strong resemblance to the floating
+angels in the triptych at Moulins attributed to Perréal. Moreover, in
+the same MS. there is a drawing of a head in profile which recalls a
+drawing at Chantilly attributed to Perréal, representing the _Comte de
+Ligny_, a patron of the artist and confidant of Charles VIII, whom he
+accompanied to Naples. It is not at all unlikely that de Ligny should
+have commissioned Perréal to paint his portrait, in which he is
+represented in a fur coat and cap, similar to that worn by his master
+the King in the well-known bust in the Museo Nationale at Florence.
+
+A drawing, also at the Musée Condé, representing _Lescueur_,
+_Bourdillon_, and another which, although supposed by Bouchot to be
+_Anne de Montmorency_, is apparently meant for _Louis XII_,[77] have
+decided affinity with this portrait of _de Ligny_ and with the
+profile-head in the _St. Michel_ manuscript assigned to Perréal. We must
+remark, however, that these drawings are inferior in craftsmanship to
+the supposed portrait of _Louis XII_. The supposition therefore arises
+that they may be merely copies from lost originals. The interesting
+drawing on which Moreau Nelaton[78] discovered the name of _Erasmus_ in
+the strange, almost illegible handwriting of Catherine de Medicis is
+most likely by the same hand, and this group of drawings all betray an
+unmistakeable relationship to another group likewise at Chantilly;
+namely, the well-known portraits of the _Preux de Marignan_ from which
+the miniatures in the second volume of the MS. of the _Gallic War_ are
+reproduced. Bouchot and also Dimier have tentatively ascribed both
+drawings and miniatures to Jean Clouet. But others, and amongst them
+both M. de Maulde and the present author,[79] assign the original
+drawings of the _Preux_ to Perréal.
+
+[Illustration: Plate L.
+
+ERASMUS.
+
+Attributed to J. Perréal.
+
+JUST DE TOURNON.
+
+Attributed to J. Perréal. (About 1515).
+
+Musée Condé.
+
+_To face page 204._]
+
+It is strange that Bouchot and Dimier, and also Maulde La Clavière,
+accept as a foregone conclusion that both drawings and miniatures must
+necessarily be by the same hand. Yet everything points to the fact that
+the miniatures in question were copied subsequently (about 1519-20) from
+these very same drawings by Godfroy le Battave, the author of the
+excellent _grisailles_ with which this manuscript is ornamented. It
+stands to reason that it was he who also reproduced the miniature of
+_Francis I_ on the frontispiece of the first volume of the MS. in
+question. To judge from the costumes and headgears of these heroes they
+cannot be dated later than 1514-15, a period anterior to Clouet. It is
+therefore quite plausible to suggest that Perréal, who at the time of
+the Battle of Marignan was Court-Painter, received from Francis I the
+commission to portray his famous comrades, _Artur_ and _Guillaume
+Gouffier_, _Just de Tournon_,[80] _Odet de Foix_,[81] _Fleuranges_, the
+_Seigneur de la Palisse_,[82] and _Anne de Montmorency_.
+
+It is a curious fact that all the numerous sixteenth-century French
+drawings at Chantilly and in other collections should have been formerly
+attributed indiscriminately to "Janet," a name employed to designate
+both the Clouets, Jean and François. Yet we know that Perréal was
+Court-Painter to Louis XII and that the latter was so enchanted with his
+work that when he was in Italy he sent for them "_pour monstrer aux
+dames de par deça_," and referred to him as a "_portraitiste de visages,
+qui peint de petits portraits sur parchemin, et sans rival en
+Italie_."[83] Some years later, after the death of his Queen, the aged
+monarch sent Perréal to England to paint a portrait of his affianced
+bride, _Mary Tudor_. He had previously been sent to Germany for a
+similar object, so that it was the most natural thing in the world for
+the young King Francis on ascending the throne to commission a painter,
+who had already been employed by his predecessor, to portray also
+himself and his warrior friends.
+
+Yet another drawing at Chantilly may be attributed to Perréal
+representing _Guillaume de Montmorency_,[84] father of the celebrated
+Anne. Judging by the age and the attire this portrait must necessarily
+be assigned to an artist working before Jean Clouet's time.
+
+After having adduced these proofs in support of our argument it would
+seem to be going purposely out of our way not to prefer Perréal as the
+author of the _Preux de Marignan_ rather than Jean Clouet; and
+especially as there are a vast number of drawings belonging to the
+period when Clouet was Court-Painter--1523-39--which clearly prove the
+greater elaboration of his style.
+
+[Illustration: PLATE LI.
+
+FRANCIS I.
+
+_Photo Braun & Co._ _Musée Condé._ Attributed to Jean Perréal.
+
+FRANCIS I.
+
+_British Museum._
+
+CÆSAR.
+
+_British Museum._]
+
+As for the miniatures in the MS. of the _Gallic War_ there can be no
+doubt that they were reproduced from the original drawings at Chantilly,
+_not_ because the author of the _grisailles_ in that manuscript was
+unable to execute portraits himself--for he was evidently an excellent
+draughtsman--but because it was the fashion of the time to have such
+drawings taken from life and then reproduced in colour in order to spare
+their noble patrons the inconvenience of sitting so often. We have
+already stated that Godfroy le Battave reproduced in miniature on the
+frontispiece of the first volume of this MS. the effigy of _Francis I_.
+Beneath on the same page is a miniature of _Cæsar_, probably copied from
+an old cameo; whilst the miniature of the King can be traced to a
+painting now at Chantilly, attributed to Perréal, and formerly in the
+possession of Gaignières. It represents Francis I at the time of his
+accession and is so subtle in its representation of character that it
+fascinates by its obvious verisimilitude.
+
+Another circumstance in favour of our proposition is found in the notes
+with reference to an intended execution in colours inscribed upon the
+back of the drawing supposed to represent _Louis XII_.[85] These notes
+are in a handwriting closely resembling the handwriting of Perréal in
+the _Comptes de Lyon_ and in his autographs in the Bibliothèque
+Nationale, where he speaks of his "_croions qui n'est que demy
+couleurs_."[86]
+
+From the above arguments we are led to the conclusion that this delicate
+art of pencil drawing must have originated on French soil, and that it
+was apparently practised by Jean Fouquet,[87] Perréal, and probably also
+to a certain extent by Bourdichon, before Jean Clouet appeared in
+France.
+
+Nevertheless, the latter, when he came to Tours, adapted his style--till
+then more closely resembling that of Holbein--to French requirements;
+and his son, François Clouet, developed this art to its highest
+perfection, combining his father's methods with those of his French
+predecessors. It is to be hoped, since some examples of the work of the
+long-neglected Perréal have now come to light, that more proofs of his
+versatility and power may yet appear, and that we may arrive at
+something more definite regarding him. The portraits of _Charles VIII_
+and _Anne de Bretagne_, discovered by Bouchot in a small MS. volume once
+the property of Gaignières, recall the drawings in the Musée Condé which
+we have assigned to Perréal; and so also does a small panel portrait of
+_Philip le Beau_ now in the Northbrook Collection.
+
+[Illustration: Plate LII.
+
+Photo. Giraudon.
+
+LOUIS XII. (ABOUT 1514).
+
+Attributed to Jean Perréal.
+
+Photo. Giraudon.
+
+ODET DE FOIX.
+
+Attributed to Jean Perréal.
+
+Musée Condé.
+
+_To face page 2_.]
+
+Furthermore, the so-called _Tournois_ tapestry, which may be assigned to
+the beginning of the sixteenth century, seems to reveal Jean Perréal's
+style. It is important to notice that documentary evidence proves that
+Perréal presided as Master of the Revels on the occasion of the State
+Entry into Lyons of Philip le Beau and his wife, Jeanne la Loca; on
+which occasion they were received with great pomp by Louis XII and Anne
+de Bretagne. We learn that he executed decorations for these
+festivities, and it is therefore not impossible that his designs may
+have been subsequently used for the tapestries in question, since they
+present to us _Louis XII_ and _Anne de Bretagne_ with their Royal
+guests and numerous suite.
+
+Thus historical record also would seem to favour the theory which we
+have endeavoured to establish--namely, that Jean Perréal as stated
+worked with pencil and chalk some time before the appearance upon the
+scene of Jean Clouet. In spite of the regrettable fact that most of his
+work has either been swept away by time or is still attributed to other
+artists enough evidence remains, if one will only accept it, of an
+activity which it is not easy to discount.
+
+Perréal is also mentioned in Royal Accounts as an architect and sculptor
+in the service of Anne de Bretagne, who entrusted to him the design for
+a tomb for her parents, François, Duc de Bretagne, and his wife
+Marguerite de Foix, at Nantes--a monument subsequently executed by
+Michel Colombe. The graceful angels who keep watch over the dead and the
+noble figures of Justice and Temperance are silent tokens of Perréal's
+ability. He was also consulted by that noble patroness of the Arts,
+Margaret of Austria, in connection with the tomb at Brou of her husband,
+Philibert of Savoy, and for this monument also some of his designs were
+used.
+
+Amongst the French medals (1476-1515) in the Metropolitan Museum (New
+York) there is a masterpiece which bears the portraits of _Louis XII_
+and _Anne de Bretagne_. This fine work of art (of which there is another
+example in the Wallace Collection) is known to have been designed by
+Jean Perréal (draughtsman), modelled by Nicolas Leclerc and Jehan de
+Saint-Priest (sculptors) and cast by Jehan Lepère (goldsmith). It is
+considered to be one of the finest examples of this species of work
+executed during the French Renaissance and was struck on the occasion of
+the marriage of Louis XII with the widow of Charles VIII. It was
+formerly supposed to be of Italian origin but is now authoritatively
+assigned to Jean Perréal. Reproductions of these medals, but smaller in
+size, are at the Victoria and Albert Museum. It would seem that the
+artist's fame received a final recognition in the fact that immediately
+after his death in 1528 Francis I sent for Italian painters to decorate
+Fontainebleau _on account of the dearth of native talent_.
+
+[Illustration: Plate LIII.
+
+LOUIS XII.
+
+ANNE OF BRITTANY.
+
+Victoria and Albert Museum.
+
+JEAN CLOUET.
+
+_To face page 210._]
+
+
+
+
+CHAPTER XVI
+
+JEAN CLOUET
+
+
+The veil of oblivion which so undeservedly fell upon Perréal is
+gradually lifted as we approach the period of Jean Clouet. Even if we
+except some drawings which we are bound to assign to an earlier period
+there still remain a great number which, judging by the age and style of
+costume of the characters represented, must necessarily be reckoned as
+falling within his period and may be reasonably attributed to him.
+Mention is made of no less than four persons bearing the surname of
+Clouet: Jean the grandfather, who painted for the Duke of Burgundy at
+Brussels about 1485; Jean Clouet, Court-Painter to Francis I; and his
+two sons--Clouet of Navarre[88] and François, who brought to its zenith
+the art of drawing in sixteenth-century France.
+
+[Illustration: Plate LIV.
+
+THE DAUPHIN FRANCOIS, ELDEST SON OF FRANCIS I.
+
+Antwerp Museum.
+
+_To face page 212._]
+
+Jean Clouet,[89] also known as _Jeannet_, migrated to France and settled
+at Tours, where he presently married Jeanne Boucault, the daughter of a
+goldsmith. He first appears in the Royal Accounts in 1516 as receiving
+160 livres per annum--a sum which, on the death of Bourdichon in 1522,
+was increased to 240 livres. Subsequently we find special references to
+several portraits by him, taken from life[90] which the King was so
+anxious to see that he sent for them by "diligence and post-horses."
+Again we read further on that his wife, Jeanne, travelled expressly from
+Paris[91] to Fontainebleau in order to convey to His Majesty portraits
+done by her husband: "_Pour apporter et monstrer au dict seigneur aucuns
+ouvrages du dict Jeannet_." After the death of Perréal in 1528 Jean
+Clouet remained practically without a rival. Only one artist--a certain
+Jean Champion who seems to have been in receipt of a very small
+salary--is mentioned besides him; but none of this man's work is
+actually recorded. Amongst the numerous works attributed to Jean Clouet
+absolute certainty may be given to a portrait of _Oronce Finé_, which,
+however, has only come down to us through a mediocre engraving in
+Thevet's series of _Hommes Illustres_. Thevet speaks of this portrait as
+an authentic work by Jean Clouet on the authority of the mathematician's
+own son but it is not easy to judge fairly the work of any artist by an
+engraving. We can, however, gather enough from it to justify us in
+concluding that Jean Clouet's craftsmanship was of a more elaborate
+nature than that which may be observed in the portraits of the _Preux
+de-Marignan_. The portrait of _Oronce Finé_, for example, bears far
+more resemblance to that of _Duc Claude de Guise_,[92] of which there is
+a drawing at Chantilly and a coloured copy in the Pitti Gallery at
+Florence, both executed at about the same time. Then again there is at
+Hampton Court an excellent portrait of an _Unknown Man_ holding a volume
+of Petrarch, which is attributed to Jean Clouet. The original drawing
+for this somewhat later and more artistic piece of work is also at
+Chantilly. Another drawing likewise at Chantilly (a capital example of
+the artist's methods) represents _Francis I_ after his reverses at
+Pavia, wherein His Majesty has lost that expression of youthful buoyancy
+so conspicuous in the oil-painting in the same collection. He wears his
+cap adorned with a white plume no longer close-set as formerly and
+straight on his forehead, but according to the fashion of the day with
+the hair projecting from underneath it and slightly tilted to the left.
+His beard has also been allowed to grow, in order, it is said, to hide a
+scar on his cheek. This drawing was unquestionably taken from life, and
+was used for the portrait in oils now in the Louvre; which serves to
+prove how much care and diligence Jean Clouet expended upon his
+portraits. Just as a sculptor uses the clay for his models, so with
+equal faithfulness the artist made his drawings serve for his final
+portraits in a heavier medium. This small painting,[93] now recognised
+as an original work, is infinitely superior to the larger portrait,[94]
+also in the Louvre, although both have evidently been copied from one
+and the same drawing. Both portraits were formerly at Fontainebleau,
+where tradition had always assigned them to Jean Clouet. This likeness
+of _King Francis_ seems to have been a very favourite one for we find
+numerous copies of it: for example, in the Méjanés Collection at Aix; in
+the _Recueil Marriette_; and in the _Recueil d'Orange_ in England.[95]
+There are no less than eight copies of it in St. Petersburg, and the one
+in Florence is said to have been made by Queen Catherine herself. A
+later portrait of this King, likewise at Chantilly, represents him in
+middle age, when years had already begun to tell upon him and the lines
+of his face had become heavy and drawn. The original drawing for
+this--perhaps also by Jean Clouet--is lost, but a copy survives in the
+_Recueil Lenoir_. A miniature in oil at Florence, in which the King is
+represented on horseback, seems to have been designed from this drawing;
+whilst another similar miniature in the Louvre (Collection Sauvageot) is
+generally considered to be the work of François Clouet, who had at that
+time just begun his artistic career under his father's direction. This
+is probably the last likeness of Francis designed by Jean Clouet. It
+appears to have been painted in 1539 and may be regarded as the official
+portrait of this King. It is certainly vastly superior to another
+even later portrait, of which there is a copy in the Louvre and a
+miniature in the _Recueil du Tillet_ (Bibliothèque Nationale), where His
+Majesty is shown to have greatly increased in girth. Another similar
+miniature is in the ante-room at Chantilly, the King being again
+represented on horseback after a fashion affected by the succeeding
+Valois Kings; and the same original reappears in the _Book of Hours_ of
+Catherine de Medicis, where Francis figures as _King David_; appearing
+to be older than he really was, for he was but fifty-three when he died.
+Both Thevet in his _Hommes Illustres_ and Gautier in his _Kings of
+France_ reproduce this same portrait.
+
+[Illustration: PLATE LV.
+
+MONSIEUR DE NEVERS.
+
+_Musée Condé._ Jean Clouet.
+
+DUC DE GUISE.
+
+_Musée Condé._ Jean Clouet.]
+
+The likeness of _Francis I_ at Hampton Court, though painted by some
+mediocre copyist, has a special interest, inasmuch as it once belonged
+to Henry VIII of England. This portrait is reproduced in pencil in the
+_Recueil d'Arras_, and another, though superior, presentation of this
+same King in the Tribune at Chantilly seems to be of the same type. The
+King is here shown in profile, a treatment copied repeatedly by
+Limousin, an example being in the Gallerie d'Apollon at the Louvre,
+where he is seen kneeling beside Queen Claude. The latest portrait of
+all of this monarch is a drawing at Chantilly taken full face, which
+seems to have been made as a _post-mortem_ effigy, such as, according to
+the Royal Accounts, François Clouet was commissioned to make. This again
+is only a copy; so that of these many and varied types of portrait few
+only can claim to be the original work of Jean Clouet. In this
+connection we should like to mention an exquisite drawing recently
+acquired by the British Museum which represents _Marguerite
+d'Angoulême_, sister of King Francis, in the bloom of her youth.[96]
+
+Portraits of _Queen Claude_[97] are as rare as those of her royal
+husband are numerous. There is a slight drawing at Chantilly
+representing the daughter of Louis XII: presumably taken soon after her
+marriage to the heir to the French throne (which under the Salic Law she
+could not ascend herself). This marriage took place after the death of
+her mother, Anne de Bretagne, whose dearest wish it had been that she
+should marry Charles V, a suitor to whom she had been affianced in
+infancy. According to Brantôme the shrewd Queen Anne foresaw that her
+timid little daughter could not have a particularly happy life between
+so fickle a husband as Francis and so ambitious a mother-in-law as
+Louise of Savoy; but King Louis thought otherwise and sacrificed his
+daughter to his patriotism. This drawing, albeit very slight, is not
+without considerable charm. It dates probably from the same period as
+the portrait of the young King at Chantilly and may perhaps be
+attributed to the same artist. It is nothing like so elaborately
+finished as the drawing of Queen Claude's sister _Renée_, which in
+craftsmanship recalls the drawing of _Duc Claude de Guise_ in the Musée
+Condé. Another far more finished and far more elaborate drawing, now
+in Florence, represents _Queen Claude_ some ten years later as
+Queen-Mother; and it bears upon it marginal notes in no less august a
+hand than that of Catherine de Medicis herself, which enhances its
+importance. Apparently this too is a copy of one of Jean Clouet's lost
+originals.
+
+[Illustration: PLATE LVI.
+
+FRANCIS I.
+
+_Photo Giraudon._
+
+_Louvre._
+
+Jean Clouet.]
+
+The next drawings of interest by this artist in the portfolios at
+Chantilly are likenesses of the two _Dauphins of France_[98] and of the
+other Royal Children: a portrait of the _Dauphin François_, which was
+repeated in colours in an exquisite little panel now at Antwerp,[99]
+with the slight difference that the Royal Child has exchanged his simple
+cap for a plumed hat; and likenesses of _Monsieur d'Orléans_ (afterwards
+the Dauphin Henri), and of the third son, _Charles_, so great a
+favourite with his aunt Marguerite. This latter Prince had the good
+fortune to be kept at home when his two elder brothers were given as
+hostages to the Emperor Charles V after the disastrous defeat at Pavia
+to be subjected by him to four years of most inhuman imprisonment.
+Bodin, who was sent by their Royal Father to attend upon his unfortunate
+sons, relates that he found them in a dark chamber seated upon small
+wooden chairs. The hardest of straw mattresses were provided for them,
+and they were not allowed to wear the plumed caps which he brought for
+them, for fear that by some exercise of necromancy they might perhaps
+contrive to fly away! According to Brantôme, the poor Dauphin had
+almost forgotten his native French, so that his younger brother had to
+assist him in making himself understood. The charming sketch at
+Chantilly of the _Dauphin François_ wearing a plumed hat was evidently
+made after his safe return to France.
+
+[Illustration: Plate LVII.
+
+Photo Giraudon.
+
+QUEEN CLAUDE OF FRANCE.
+
+Attributed to J. Perréal. About 1515.
+
+Photo Giraudon.
+
+RENEE OF FRANCE, DUCHESS OF FERRARA.
+
+Attributed to Jean Clouet.
+
+Musée Condé.
+
+_To face page 21_.]
+
+A slight sketch shows _Madeleine de Valois_ as a child. This princess
+was married at the age of seventeen to King James V of Scotland; and she
+is said to have been so delighted at the prospect of becoming a Queen
+that she soon consoled herself for having to leave _la douce France_ for
+so rigorous a climate. She was, however, extremely delicate and died six
+months later, to the unbounded grief of her husband, who for years could
+not be persuaded to remarry. Princess Marguerite, on hearing of her
+elder sister's untimely death, shut herself up in her own apartments and
+refused food to the great injury of her health; and it was only by the
+urgent persuasions of her aunt Marguerite d'Angoulême that she was
+induced to resume her morning walks in the gardens of Fontainebleau and
+so by degrees to recover. A variety of drawings at Chantilly present
+this young princess at different periods of her life; and in the earlier
+of these, as in the portraits of her sister and two brothers, we can
+trace the handiwork of Jean Clouet. A painted portrait of her (which
+formerly belonged to Gaignières) in the Tribune at Chantilly, is
+attributed to Corneille de Lyon, and on the margin is written "_Marg. de
+France, Duchesse de Berry_." She is represented with auburn hair and
+blue eyes like her brother the Dauphin, whose portrait hangs in the
+same room. The words "_Corneille fecit_" are written on the back of the
+frame by Gaignières himself, who in so doing settled its authorship.
+Whilst the Dauphin seems in his portrait to be but eighteen years of age
+his sister Marguerite looks thirty, so that we may conclude that she sat
+at a much later period. The numerous drawings that François Clouet made
+of this Princess[100] reveal that amiable disposition so much praised by
+Brantôme. He speaks of her as "_la bonté du monde, charitable,
+magnifique, liberale, sage, vertueuse, si accostayle et douce que rien
+plus_." She remained unmarried until she had reached the age of
+thirty-six, because she declined (it is said) to marry one of her
+brother's subjects and yet did not wish to leave her beloved France.
+When quite young she had accompanied her aunt Marguerite to Nice, where
+she fixed her choice upon the heir of the House of Savoy, to whom after
+twenty-one years' interval she was, when adverse political complications
+had finally passed away, eventually united.
+
+She was meanwhile much admired at the French Court for her learning. A
+Latin and Greek scholar of merit, she studied Aristotle's _Ethics_ and
+is reported to have sent to Paris for at least three different editions
+of Cicero. She had no special gift in the use of the pen like her
+versatile aunt,[101] the authoress of the _Heptameron_, although she
+occupied her mind with continual study and much careful reading. She
+patronised the poet Du Bellay, who translated for her Bembo and
+Naugerius and she induced him to assert that no century would ever
+extinguish the memory of Boccaccio and Petrarch. Moreover, she attracted
+to the French Court Baccio del Bene, of whom Ronsard said that he was
+the only Italian author worthy of earnest consideration at this period.
+Her learning acquired for her the _sobriquet_ of "Pallas"; her emblem
+was an olive-branch; and she was looked upon as the symbol of Platonism
+in its highest form. Her father, King Francis, paid but little attention
+to her; but her brother, Henri II, loved and esteemed her greatly and
+when she married ordered for her adornment magnificent robes, costly
+lace and jewels, and organised great festivities. It was on the occasion
+of these nuptials, however, that the terrible tragedy occurred which
+brought about His Majesty's death. Like her aunt Rénée at Ferrara
+Marguerite[102] in her home in Piedmont never ceased to long for her
+"sweet France"; and every Frenchman who passed through Turin, on
+presenting himself at her Court, was warmly welcomed and munificently
+entertained. With her enlightened views she was able to act as mediator
+in the religious differences which raged so violently in France during
+the sixteenth century, and which extended into the country of her
+adoption; and she protected, as far as she was able, the persecuted
+Waldenses. The last years of her life were devoted chiefly to the
+education of her son, Charles Emmanuel of Savoy; and Michel de
+l'Hôpital declared that this Prince owed the success of his career
+entirely to her. The French Ambassador at Constantinople left to her his
+entire fortune, and the poet Du Bellay on his death-bed wept bitterly
+because he was unable to take a last farewell of her. When she herself
+died there perished with her all that was best in the spirit of the
+neo-Platonism initiated by her aunt, the first Marguerite; so that it
+presently fell entirely to pieces under the influence of the third
+Marguerite, youngest daughter of Catherine de Medicis.
+
+[Illustration: Plate LVIII.
+
+THE DAUPHIN FRANCOIS, ELDEST SON OF FRANCIS I.
+
+Jean Clouet.
+
+Photo. Giraudon.
+
+HENRI D'ORLEANS, AFTERWARDS HENRI II.
+
+Attributed to Jean Clouet.
+
+Musée Condé.
+
+_To face page 220._]
+
+A likeness of _Rénée de France_[103] which bears some affinity to the
+portrait of her sister _Queen Claude_ is also to be found at Chantilly.
+It represents her at the time of her marriage to Ercole, Duke of
+Ferrara, son of Lucrezia Borgia: nuptials which were celebrated in the
+Sainte Chapelle at Paris. Like the other French princesses of her day
+she was extremely intelligent and studious, and during her time the
+Court of Ferrara became renowned as an intellectual centre to which
+French visitors were always warmly welcomed. To the complaints of her
+Italian courtiers that she spent too much money upon her compatriots she
+replied, "_Que voulez-vous? Ces sont pauvres Français de ma nation
+lesquelles si Dieu m'eut donné barbe au menton, et que je fusse homme,
+seraient maintenant tous mes sujets, et si cette méchante loi Salique ne
+me tenait trop de rigueur_." Rénée was a strong adherent of the
+Reformed Faith and welcomed Calvin to her Court, thereby giving serious
+annoyance to her husband, the Duke, whose policy it was to keep on good
+terms with the Pope. The poor Duchess therefore presently found herself
+compelled to part with all her French ladies-in-waiting on account of
+their Protestant views. Furthermore, her brother-in-law, Cardinal
+Ippolito d'Este, was sent to the French Court to discuss these matters
+with the King, upon which occasion those two connoisseurs and patrons of
+Art became fast friends.[104]
+
+After the death of her husband the Dowager Duchess was exiled by her
+son, Alfonso, to Montargis,[105] and there she was visited by the
+Cardinal--who, in spite of her heretical leanings, had never ceased to
+be on good terms with her. According to Brantôme she here provided
+shelter and food for 300 Huguenots who had been despoiled of their
+goods; and she even went so far as to remonstrate with her son-in-law,
+François de Guise, for his cruel treatment of the Prince de Condé;
+saying that "whoever had advised the King to take this course of action
+had done a great wrong." Notwithstanding her Calvinistic views she was
+always reckoned by the Royal Family as a true Daughter of France and was
+held in high honour by them. Her portraits, like those of her sister
+Queen Claude, are extremely rare.
+
+[Illustration: PLATE LIX.
+
+MADAME DE VENDÔME D'ALENÇON.
+
+_Photo Giraudon._
+
+_Musée Condé._
+
+Jean Clouet.
+
+JEANNE BOUCAULT.
+
+_Musée Condé._
+
+Jean Clouet.]
+
+Besides the portraits of the Valois princes and princesses at Chantilly
+there are a great number of likenesses of other interesting
+historical personages. It would, however, lead us too far afield were we
+to attempt to enumerate them all. Amongst them, however, the most
+remarkable are as follows: _Madame Vendôme d'Alençon_,[106] mother of
+Antoine de Bourbon and of Louis I Prince de Condé (a drawing on a larger
+scale than most of the others); of the same size, _Madame
+l'Estrange_,[107] a lady renowned for her beauty and greatly beloved by
+the Dauphin François; _Henri d'Albret, King of Navarre_; _Chandus_, one
+of King Francis' most faithful officers; and various portraits of
+_Unknown Young Men_. All these are excellently drawn, may be assigned to
+Jean Clouet and are evidently taken from life. In some of the portraits
+we can detect a point of transition between the joint work of father and
+son: for example, in a drawing representing _Louis de Nevers_,[108] son
+of a Princesse de Bourbon and related to the Princes of the House of
+Cleves. This drawing is incorrectly designated _Saint Marsault_; but a
+copy supplies the right name. There is a copy of it in colours in the
+Lochis Collection at Bergamo, which long passed under the name of
+Holbein until Dr. G. Frizzoni assigned it to François Clouet, who
+evidently executed it from the drawing at Chantilly. In this same
+connection may be mentioned the _Sieur de Canaples_,[109] and the
+portrait of an _Unknown Lady_ of singular force of expression, very
+plainly clad and without ornaments, who may perhaps be _Jeanne
+Boucault_[110] of Tours, Jean Clouet's own clever and devoted wife.
+
+[Illustration: Plate LX.
+
+Photo. Giraudon.
+
+MADAME L'ESTRANGE.
+
+Attributed to Jean Clouet. About 1535.
+
+Musée Condé.
+
+_To face page 224._]
+
+Before we take leave of Jean Clouet and pass on to his brilliant son
+attention should be called to a fascinating portrait of a young girl
+inscribed "_la reine Jehanne de Navarre petite_,"[111] which, on account
+of its excellence, might well be attributed to the master himself. In
+this instance history comes to our aid, for we are informed that
+Princesse Jeanne (known as "_la mignonne de deux rois_" on account of
+the marked affection shown to her by both King Francis, her uncle, and
+King Henry of Navarre, her father) was in her fourth year removed from
+the charge of her own parents and transported to Plessis-le-Tours, a
+château on the Loire; where there was provided for her a suite
+consisting of a lady-in-waiting, a master of the horse, two chaplains
+and other attendants. The reason for this strange arrangement was
+political, inasmuch as Francis feared that Henry of Navarre would
+negotiate a marriage between this child and Philip of Spain, eldest son
+of Charles V. In vain the little Princess wept and implored her Royal
+uncle to allow her to rejoin her mother. Her wish was not to be granted
+until she had reached her twelfth year, and then only on condition that
+she should be betrothed at once to the Duke of Cleves, whose sister Anne
+was wife of King Henry VIII of England--a political scheme to unite the
+Protestant Princes of Germany and England against the Emperor Charles
+V. It was probably at the moment when the Princess was about to leave
+the lonely château on the Loire that Francis commissioned Jean Clouet to
+secure for him a likeness of his niece before her departure for Béarn.
+Jeanne, who was born at Fontainebleau in 1528, appears here to be about
+twelve years of age; so that the drawing may perhaps have been executed
+in 1539-40, and, since it was one of the artist's last works it gains
+greatly in interest.
+
+That François Clouet succeeded his father as Court-Painter in 1541 is
+proved by a document in the "_Trésor des Chartres_" which runs as
+follows: "_François par la grace de Dieu, roy de France, etc.... Savoir
+faisons ... que voulant reconnoistre envers nostre cher et bien aimé
+painctre et varlet de chambre ordinaire, François Clouet les bons et
+agréables services que feu M^{e} Jehannet Clouet, son père, aussi de son
+vivant nostre painctre et varlet de chambre, nous a durant son vivant
+faictz en son dict estat et art, auquel il estoit très expert et en quoy
+son dict fils la jà très bien imité, et espérons qu'il fera et
+continuera encores de bien en mieux cy après, a icelluy, François Clouet
+pour ces causes et affin que de ce faire il ayt meilleure voullonté,
+moïen et occasion, avons donné, octroïé, cedé et délaissé, tous et
+chacuns les biens meubles et immeubles qui furent et appartendrent au
+dict Me Jehannet Clouet, son père, à nous advenuy et escheuz, adjugez et
+declarez appartenir par droit d'aubène au moïen de ce que le dict
+deffunt estait estranger et non natif ne originaire des nostre royaume
+et n'avoit obtenu de nos predecesseurs roys ny de nous aucunes lettres
+de naturalité et congié de tester_" (published by E. de Freville, _Arch.
+de l'art Français_, t. iii, p. 98).
+
+From the above document we learn the following important facts, namely:
+(_a_) that Jean Clouet was not of French origin; (_b_) that he was
+highly esteemed by the King; and (_c_) that after his death François
+Clouet, his son, inherited all his privileges and favours.
+
+[Illustration: Plate LXI.
+
+Photo. Giraudon.
+
+JEANNE D'ALBRET, WHEN A CHILD.
+
+Attributed to Jean Clouet.
+
+MADAME MARGUERITE, SISTER OF HENRI II.
+
+Attributed to François Clouet.
+
+Musée Condé.
+
+_To face page 226._]
+
+
+
+
+CHAPTER XVII
+
+FRANÇOIS CLOUET AND HIS FOLLOWERS
+
+
+Francis I, King of France, survived Jean Clouet but a few years, so that
+the artistic career of his celebrated son, François, chiefly developed
+during the reigns of Henri II, Francis II and Charles IX.
+
+It is difficult to determine what effect Jean Clouet's death had upon
+his son, but we are led to suppose that at first he continued closely to
+adhere to parental teaching. Indeed from 1540 to 1545 it is scarcely
+possible to discern any of those differences of style so conspicuous a
+decade later.
+
+Two female portraits, still existing, seem to give weight to this
+argument. These likenesses, although in the style of the elder Clouet,
+from the age and the attire of the sitters can only have been drawn
+during the years 1544-5, by which date that artist had already vanished
+from the scenes and his son was at work alone.
+
+These drawings represent _Jossine Pisseleu_[112] (niece of the famous
+Duchesse d'Estampe), better known under the name of "Hegli," and the
+beautiful daughter of Diane de Poitiers, called "Brasseu."[113] Both of
+these portraits are rendered specially interesting by the fact that
+their respective names are written on the margin by Queen Catherine de
+Medicis. These two ladies, Hegli and Brasseu, are known to have belonged
+to that gay company known as _la petite bande_, of which the young
+Catherine herself, when Dauphine, was also a member.
+
+Francis I, thanks to his own great taste for Art, comprehended to the
+full the different talents of the artists in his employ; and whilst he
+commissioned Rosso and Primaticcio to execute the frescoes at
+Fontainebleau, the two Clouets were successively entrusted with such
+portrait painting as he required.
+
+At Chantilly there is an exquisite portrait of _Louise de Clermont,
+Duchesse d'Uzez_, another of the fair members of the _petite bande_ whom
+the King nicknamed "la Grenouille" on account of her husky voice and
+projecting eyes: a drawing which belongs to the same series already
+referred to; that is to say, an early work with which François Clouet
+was commissioned after his father's demise. A miniature taken from this
+drawing is preserved in the Louvre.
+
+[Illustration: PLATE LXII.
+
+_Photo. Hanfstaengl._
+
+Francis I.
+
+Attributed to Jean Clouet.
+
+Louvre.
+
+_Photo. Giraudon._
+
+Marguerite of Angoulême.
+
+(Sister of Francis I. and Queen of Navarre).
+
+Attributed to François Clouet.
+
+Musée Condé.]
+
+Henri II, whilst Dauphin, had apparently not much chance to employ
+either of the Clouets, since their time was almost entirely monopolised
+by the King; but there is evidence to prove that Catherine de Medicis'
+children were repeatedly painted by Germain le Mannier[114] and his
+brother Alois. There exist pencil sketches of _Francis II_ at the age of
+five, and again at eight years and five months; to which latter there is
+a pendant representing his _fiancée, Mary, Queen of Scots_, at the age
+of nine and a half. There is another of _Charles IX_ aged between four
+and five years. All of these were executed by this artist and are now in
+the portfolios at Chantilly.
+
+With reference to these drawings there is a letter still extant, written
+on June 1 1552 by Queen Catherine to M. Humières (who with his wife were
+in charge of the Royal nurseries at Saint-Germain-en-Laye), in which she
+expresses a desire to have all her children, sons and daughters,
+including _la Royne d'Ecosse_,[115] painted "_sans rien oublier de leur
+visages_." There is also a letter from Henri II, written on the eve of
+his accession, expressing a desire to recompense the painter Mannier.
+
+This, however, did not prevent him, as soon as he became King, from
+taking up François Clouet, whom he commissioned not only to make a
+_post-mortem_ effigy of the late King, but also to prepare an official
+representation of himself. His own portrait bears a note upon it,
+apparently in the artist's own handwriting, "_Le Roy Henry 2_"[116]:
+handwriting which bears close similarity to an existing quittance signed
+_F. Clouet_. This drawing, now in the Bibliothèque Nationale at Paris,
+became very popular. A version completed in colours, is now in the
+Louvre: it was reproduced in miniature; and many copies were
+subsequently made by lesser hands.
+
+Contemporary with this portrait is a powerful likeness of the _Grand
+Connétable, Anne de Montmorency_,[117] evidently taken from life. In
+this drawing the individuality of the artist is very marked: more
+realistic in his tendencies than his father, he is on that account more
+French. This great warrior, the Lord of Chantilly, is shown here when at
+the height of his fame, in high favour with the King and with _l'amie du
+roi_, Diane de Poitiers.[118] This famous lady herself sat to François
+Clouet, and so apparently about the same time did Catherine de Medicis,
+and also Jeanne d'Albret,[119] Queen of Navarre. It is interesting to
+compare the likeness of this latter princess, so eloquent of a noble
+mind and a frank disposition, with that of Catherine de Medicis, past
+mistress in the art of dissimulation.
+
+[Illustration: Plate LXIII.
+
+_Photo. Hanfstaengl._
+
+CHARLES IX.
+
+François Clouet. About 1569.
+
+Vienna Gallery.
+
+_To face page 230._]
+
+Drawings and portraits of Catherine as Dauphine and as Queen of France
+are comparatively rare. It is as a Queen-Dowager, growing old and well
+away on her career of dangerous intrigue, that we chiefly meet her in
+the Galleries of Europe. No small value can therefore be attached to the
+drawing in the British Museum which came to the nation through the
+Salting Bequest, inasmuch as it brings her before us at the period when
+her husband had just ascended the throne of France; and to another
+likeness at Chantilly, attributed to Corneille de Lyon, which is
+supposed to be the one executed when she passed through Lyons with Henri
+II in 1564. Brantôme relates that upon this occasion the great Diane de
+Poitiers received more homage than the Queen herself, and that portraits
+were drawn of all the royal ladies, amongst whom was the King's sister
+Marguerite (soon to become Duchess of Savoy). The writer further tells
+us how Catherine, when fifteen years later she revisited Lyons as
+Queen-Mother, displayed much amusement at the old-fashioned attire in
+which she and her Court ladies had then been portrayed.
+
+To the years between 1559 and 1570 belong the drawings in the
+Bibliothèque Nationale, which are considered as marking the height of
+this artist's power. Such, for instance, are the portraits of _Maréchal
+Strozzi_ (1567) and of _Maréchal de Vielville_[120] (1566), supposed to
+have been dated by the artist himself, a circumstance which greatly adds
+to their value.
+
+We are on certain ground with regard to the genuineness of the signed
+and dated portrait of _Charles IX_ now at Vienna; but, strange to say,
+the date has here clearly been tampered with. We can ascertain this from
+the fact that the young King in the portrait seems certainly only about
+twenty years of age, and since he was born in 1550 the date upon the
+picture ought to be 1569 instead of 1563. Furthermore, the original
+drawing (now at St. Petersburg) from which this finished painting was
+executed is dated 1569. There is also a miniature taken from it in the
+Louvre.
+
+It would lead us too far if we were to mention all the drawings which
+bear the stamp of this master's own hand, but there are some on which we
+ought to dwell as being examples of his finest work. Amongst these are
+the drawings in the Bibliothèque Nationale of the boy-King _Francis
+II_[121] and of his young and beautiful bride, _Mary Stuart, Queen of
+Scots_.
+
+In the delicate and subtle pencil drawing of the latter, more than in
+all her other portraits, we can detect traces of her world-renowned
+beauty; and this is how she must have looked when, with her young
+husband beside her, and surrounded by the great dignitaries of State,
+she entered the Cathedral of Notre Dame for her Coronation. Clouet has
+succeeded in conveying to us something of the sweetness of her smile,
+her wistful expression, and the thoughtful look in her eyes. In the
+miniature at Windsor, which is said to have been reproduced from this
+drawing, much of the refinement has been lost, and more attention has
+been paid to accessories, _i.e._ her dress and her ornaments.[122]
+
+[Illustration: _Mary Stuart
+
+as Dauphine of France
+
+From the drawing in the Bibliothèque Nationale at Paris._]
+
+A later drawing, in which the young Queen is represented in her _deuil
+blanc_ as a widow, is among the framed drawings at Chantilly: a portrait
+probably executed by François Clouet when she was on the point of
+leaving her beloved France. This is apparently a reproduction from a
+lost original, and it found its way to Chantilly with the Lenoir
+Collection. It is no doubt the last likeness of Mary Stuart made in
+France. The charm which Clouet so deftly imparted to the portraits of
+this unhappy Queen seems entirely absent from all the numerous
+likenesses subsequently made in England by other artists. How hard and
+set, for instance, do her features seem in the life-size oil-painting by
+Oudry at Hardwick Hall. All that we can perceive in it is the only
+too-evident havoc wrought by fate upon that beautiful face.
+
+François Clouet's highest capabilities may be traced in the water-colour
+sketch at Chantilly which represents _Margot de France_,[123] youngest
+daughter of Catherine de Medicis, in her girlhood. It is exhibited in
+the Psyche Gallery and is considered one of the gems of the collection.
+Since correct drawing from life was the artist's first thought this
+preparatory sketch is superior to the painting, also in all probability
+executed by the artist himself, which a rare chance has brought into the
+same gallery. This latter is supposed to be the actual portrait sent by
+Catherine to her daughter Elizabeth, wife of Philip II of Spain, which
+the Infante Don Carlos admired so much. Comparing the portrait with
+those of the other marriageable princesses of Europe, he exclaimed,
+"This little one is the prettiest of all"; whereat Elizabeth de Valois
+in a letter to her mother writes: "_Le Prince était demeuré en extase
+devant le miroir délicieuse de la mignonne_."
+
+Clouet has painted the little Princess in a robe of delicate silver
+tissue adorned with pearls; more pearls are round her neck and
+intertwined amid the tresses of her hair. Her expression displays that
+_joie de vivre_ which is known to have been one of her most marked
+characteristics throughout her whole life.
+
+It is, however, in the sketch that the high qualities of François Clouet
+as a portrait-painter specially assert themselves. Here he appears as a
+refined Holbein, endowed with graceful and elegant French qualities.
+Light and shadow are barely perceptible but are nevertheless
+sufficiently present to produce the necessary plastic feeling. The
+costume and the jewels, though reproduced with closest accuracy, do not
+mar the harmony, nor do they overpower the clearly defined features
+which retain their fullest importance and prominence.
+
+[Illustration: Plate LXV.
+
+Photo. Giraudon.
+
+ELISABETH OF AUSTRIA, QUEEN OF FRANCE.
+
+François Clouet (About 1567).
+
+Bibl. Nat. Paris.
+
+Photo. Giraudon.
+
+JOSSINE DE PISSELEU, NICKNAMED HEGLI.
+
+François Clouet (About 1542).
+
+Musée Condé.
+
+_To face page 234._]
+
+Another portrait by François Clouet, equalling this in excellence, is
+that of _la bonne petite reine, Elizabeth of Austria_ in the Louvre--the
+youthful consort of Charles IX, whose simple virtues shone out so
+conspicuously during a most degenerate period in the history of the
+French Court. The perfection of draughtsmanship in the delicate features
+is astonishing; and the colouring, of a pale rosy hue, is most
+effective. The hands, placed one over the other, have in their graceful
+movements been justly likened to the petals of a white lily. There is a
+copy of this picture at Chantilly, probably also by François Clouet, but
+the exquisite hands are absent. Nor are they to be found in the
+original drawing in the Bibliothèque Nationale, in the famous Lecurieur
+album which once belonged to François Clouet's own nephew, Benjamin
+Foulon. _Maréchal Strozzi_, _Madame de Retz_, _Albert de Gondi the Duc
+de Retz_, _Robert de la Marck_, _the Duc de Bouillon_, _Jeanne d'Albret
+in deep mourning_, and many others, have the same _provenance_ and all
+bear notes in Foulon's[124] handwriting. It has been suggested by Henri
+Bouchot that these admirable designs came to the nephew from his uncle
+who had preserved them in his studio in order to reproduce them
+subsequently in colour. We may presume then that these original pencil
+drawings were the immediate work of François Clouet, whilst the coloured
+portraits were reproduced from them either by himself (as in the case of
+the portraits of _Elizabeth of Austria_ in the Louvre and at Chantilly)
+or by the hands of his pupils.
+
+There is, however, one exception to this proposition in the case of the
+portrait of _Pierre Quthe_ recently acquired for the Louvre. It
+certainly appears to be a portrait painted direct from life and not
+reproduced from a drawing; and it reveals to us a new and more intimate
+characteristic of the artist; since he has here shown us one of his own
+personal friends, with whom he, no doubt, had many tastes in common.
+Had this not been so he would not have appended to the picture the
+following inscription: FR. JANETT OPUS PE. QUTTIO. AMICO SINGULARI
+ETATIS SVE XLIII, 1562. This portrait, therefore, when compared, for
+instance, with that of _Charles IX_ at Vienna, gives the impression of
+being less conventional and more sympathetic. It has the same bluish
+curtain in the background, and an open book lies on the table, in which
+may be seen representations of certain plants, alluding to the fact that
+the person represented was well known as a botanist.
+
+Since the discovery of the portrait of _Pierre Quthe_ we can have no
+hesitation in attributing to François Clouet another life-size portrait
+at Chantilly: namely, that of _Cardinal Odet de Coligny_,
+hitherto--though with some reserve--assigned to Primaticcio on account
+of a misleading signature evidently posterior to the painting. This
+portrait and that of _Henri II (Cabinet Clouet)_ (also attributed, and
+with much more reason, to Primaticcio), clearly exhibit the difference
+between the respective artists without need for any further comment. The
+curtain in the background, for which François had so decided a
+predilection, is also to be found in the portrait of _Odet_; and it
+appears to have been Clouet's latest work. It exhibits very decidedly
+his appreciation for Italian methods, more especially those affected by
+Morone and Moretto of Brescia, to whose work these two large portraits
+by François Clouet bear a marked analogy.
+
+[Illustration: PLATE LXVI.
+
+PIERRE QUTHE.
+
+_Louvre._
+
+François Clouet.]
+
+Besides a fine drawing in red chalk of this same _Cardinal_, presented
+to the Musée Condé by M. Moreau Nélaton, there exist two other drawings,
+evidently preliminary sketches for the same picture. One of these is in
+the British Museum (Salting Bequest) and the other in the Albertina at
+Vienna. These form a further proof that the painting at Chantilly is by
+François Clouet and not by Primaticcio.
+
+Odet de Coligny, created a Cardinal by Clement VII at the early age of
+seventeen, was the eldest brother of Admiral Coligny and of Dandelot. In
+spite of the countless honours showered upon him by the Catholic party
+he all at once in 1561 astonished the world by openly confessing the
+Protestant Faith. Like his brothers he became a staunch supporter of
+Calvin, proceeded publicly to marry Elizabeth de Hauteville--to whom he
+had for many years previously been deeply attached--and presented her at
+Court, where she received the title of Comtesse de Beauvais. The
+scandalised Pope, Pius V, erased his name from the list of Cardinals,
+whilst Catherine de Medicis merely smiled. It suited her purpose on the
+death of Francis II to dismiss the Guises from her Court and to admit
+thereto the Calvinistic party, even to the extent of attending their
+sermons. This freak of hers did not, however, last long, but by it she
+enticed the Protestants into her net. Odet de Coligny subsequently
+retired to England, where in 1570, just when he was intending to return
+to France, he died suddenly at Hampton Court, not without suspicion of
+poison.
+
+       *       *       *       *       *
+
+[Illustration: Plate LXVII.
+
+Photo. Giraudon.
+
+MARGOT OF FRANCE.
+
+François Clouet.
+
+Musée Condé.
+
+_To face page 238._]
+
+Before concluding this chapter on François Clouet attention should be
+directed to a specially interesting feature about these drawings. Upon
+the margins, and also on the reverse sides of most of them, are to be
+found annotations and legends of the utmost historical and iconographic
+value. Sometimes they appear to be in the handwriting of the artists
+themselves: often notes with regard to subsequent reproduction in
+colours; but more often they seem to be the remarks of the connoisseurs
+and collectors who at different times possessed the drawing--such as was
+Catherine de Medicis herself. Her handwriting is to be found upon at
+least sixteen of the drawings in the Musée Condé, easily identified by
+existing fragments of her letters in the archives at Chantilly and
+elsewhere. There is, for example, a drawing of _Erasmus_ which had
+hitherto passed unnoticed until Moreau Nélaton discovered that the Queen
+had written his name upon it in her own hand. Her autograph is clear
+enough also on the drawings which present her favourite
+ladies-in-waiting Hegli[125] and _Montchenu_ and _la Romène_; whilst she
+has also annotated the drawings representing _Monsieur de S. Valier_,
+"_le père de la Grande Senechalle_," and "_Monsieur de Nevers_," "_le
+père de Madame de Nevers_." Then upon a drawing of _Brissac_ (so
+celebrated for his good looks) she notes "_brassac depuis maréchal_."
+Again, "_le fu roy de Navarre, Henri_," "_Monsieur de Chateaubriand_,"
+"_Monsieur de Voldemont_," and "_Chandu, capitaine de la porte du Roy_."
+Besides the sixteen drawings at Chantilly which so obviously bear the
+Queen's handwriting, there is as already mentioned in the Deligand
+Collection a likeness of "_Brasseu_," daughter of Diane de Poitiers, and
+in the Uffizi a drawing representing _Queen Claude_, "_mère du roi
+Henri_," on both of which we also find Her Majesty's angular writing.
+She has corrected, moreover, the title upon one pencil drawing wrongly
+entitled _Madame de Nevers d'Albret_ into _Madame de Vendôme d'Alençon_.
+
+Yet by far the larger number of the drawings bear notes in a variety of
+different handwritings: at Chantilly, the Bibliothèque Nationale, in the
+Uffizi and in the British Museum (Salting Bequest). M. Moreau Nélaton is
+strongly of opinion that these notes were all made either by the Queen
+herself or by secretaries written at her dictation. He is certainly
+right in regard to one of these, for we can trace the same handwriting
+in a private letter "_a ma cousine Madame la Connetable_" signed by the
+Queen; and again on the margin of the three drawings representing
+"_François Dauphin_," "_Marie Royne d'Ecosse_,"[126] and "_Charles
+Maximilian d'Orleans_" respectively. It is a well-formed caligraphy
+with a peculiar trick of abbreviating "_et_" into "_&_," which appears
+both in the letter and in the notes. There is no proof, however, as to
+who were the other annotators, whether Court secretaries or not. They
+may just as well, as M. Dimier[127] suggests, be other collectors
+through whose hands in the course of time the drawings have passed. This
+much, however, is quite certain: that all are posterior to the drawings
+themselves. The different handwritings--of which there are at least
+four, if not five (including that of the Queen), have puzzled Bouchot as
+much as Dimier and Moreau Nélaton, and all these authorities have their
+own special theories upon the subject. It is evident that in most cases
+the notes do identify the persons represented in the drawings upon which
+they are found, and they are thus of greatest historical value: and more
+especially is this the case with the drawings at Chantilly (many of
+which are stained with blotches of colour), since they are the originals
+from which were derived the copies and portraits found now in other
+collections.
+
+[Illustration: Plate LXVIII.
+
+DIANE DE POITIERS.
+
+François Clouet. About 1543.
+
+Musée Condé.
+
+_To face page 240._]
+
+There is ample evidence to prove how much interest was taken by
+Catherine de Medicis in French portrait-painting. A list has been found,
+bearing the heading of "_Les peintures qu'il faut_," of the pictures
+which she desired should be reproduced. Numerous "_gens de maîtres_"
+like Philibert Delormes, Jean Bullant, Scipion Bruisbal, and others were
+busily employed in making these copies from Clouet originals, in
+order to satisfy the great demand which then existed for them.
+
+After Catherine's death an _Inventory_ of not less than 476 paintings
+(amongst which were 341 portraits) was made at the Palais de Tournelle,
+where she habitually resided; whilst another _Inventory_ notes 39 small
+pictures executed in enamel, and 32 portraits in colour, 1 foot square
+each, of ladies and gentlemen of the Court.
+
+An original drawing of _Diane de Poitiers_ is preserved in the
+portfolios at Chantilly; and a portrait of the same lady executed in
+colour hangs in the next room (Cabinet Clouet). Similarly the Bethune
+and Destailleur albums at Chantilly, as well as the Ashmolean collection
+at Oxford, contain numerous copies from originals in the Musée Condé.
+Many of these copies were made by enamellers and goldsmiths for the
+purposes of their respective trades. These, however, are usually of
+inferior workmanship, although they have a certain value attached to
+them; especially when, as in the case of _Mary Tudor_, the original has
+been lost.
+
+In this connection the Mejanés album at Aix should not be forgotten; for
+it is no doubt the most important amongst the various albums which
+contain copies of these original drawings at Chantilly and elsewhere.
+This collection is supposed to have been copied by Madame de Berry, wife
+of Arthur de Gouffier, one of the _Preux de Marignan_. Francis I, whose
+own portrait is at the beginning of the album, when on a visit to this
+lady, is said to have composed the remarks which are written on the
+margins. They are suggestive and often witty; indeed none but the King
+himself would have dared to fling at Mary Tudor[128] of England the
+insulting words "_plus sale que royale_"; whilst Diane de Poitiers is
+greeted with the flattering remark, "_fair to see and virtuous to
+know_." Perhaps even more important especially, from an artistic point
+of view, is the Hagford album bequeathed to the British Museum by Mr.
+Salting, since it includes not only a number of old copies but also
+several very valuable originals. This collection was made by an English
+painter, Ignatius Hagford, who lived in Florence in the eighteenth
+century. He believed them to be the work of Holbein, as is indicated by
+the frontispiece; and he seems to have even bought also old copies of
+originals which he already owned. Part of his collection is now in the
+Pitti Palace; and seeing that the Howard Collection, now at Chantilly,
+was also originally acquired in Florence, there is strong reason to
+believe that probably these two collections were once united.
+
+[Illustration: Plate LXIX.
+
+MARY TUDOR, QUEEN OF FRANCE.
+
+Copy after Perréal.
+
+Photo. Giraudon.
+
+MADAME DE BOUILLON.
+
+Attributed to Jean Clouet.
+
+Musée Condé.
+
+_To face page 232._]
+
+Henri de Mesmes, a gentleman of whom Brantôme speaks as "_un très grand
+habile et subtil personnage d'état d'affaires de science et de toute
+gentillesse_," often acted as go-between for Catherine in her art
+dealings; and it was he who corresponded on her behalf with a certain
+Claude de Hery, who had been commissioned to make a new engraving from a
+portrait of _Charles IX_ on his accession to the throne. This artist
+had failed to satisfy the Queen-Mother and the King, in spite of the
+fact that his work had been fully approved of by no less a personage
+than François Clouet himself.
+
+One of the last works of François Clouet was a miniature of _Elizabeth
+of Austria_, executed in 1572 and destined for her sister-in-law, the
+Queen of Spain. The goldsmith Dugardin designed for it a golden frame;
+and here also Henri de Mesmes acted as medium, as is shown by a
+memorandum referring to it in the handwriting of Catherine de Medicis
+herself.
+
+It was in this same year (1572) that the artist died; a year which was
+also fatal to Jeanne d'Albret, Queen of Navarre, who did not live to
+attend the nuptials of her son Henri IV with Margot de France. This took
+place shortly after her demise and not long before the Massacre of St.
+Bartholomew; a terrible event which reveals Catherine de Medicis in a
+very different light from that of a connoisseur and collector of works
+of art. There is a portrait of her in the Cabinet Clouet at Chantilly
+which dates from about this period. From it the bloom of youth has fled,
+the face has grown heavier and the smile is more than ever fixed and
+conventional.
+
+The ablest contemporary and follower of the Clouets was Corneille de
+Lyon; but he in turn developed a decided individuality of his own. By
+him are those small portraits, painted upon light-green or light-blue
+backgrounds, which may be found scattered throughout the Galleries of
+Europe. As already mentioned, a likeness of the _Dauphin François_[129]
+at Chantilly (Tribune) has been attributed to him by Gaignières, to whom
+it once belonged. It is on the authority of this connoisseur that other
+portraits in the Musée Condé exhibiting the same style are by comparison
+assigned to him: such, for instance, as _Le Grand Ecuyer de Boisy,
+Marguerite de France_ (sister of Henri II), _Madame de Martigné Briant_,
+a portrait supposed to be of _Madame de Canaples_, and a portrait of a
+young woman, erroneously styled _Claude de Valois_. [An authentic
+portrait of this latter lady, attributed to Clouet himself, is at
+Munich.] _Madame d'Elboeuf_, presented to the Louvre by the late
+Rudolph Kahn, is a fine example of Corneille's skill.
+
+Another artist who followed the Clouet style was Jean de Court, Court
+Painter to Henri III, the last of the Valois Kings, whose portrait in
+the Cabinet Clouet at Chantilly is probably an example of his work. His
+talent is much praised by Desportes; and this likeness of _Henri III_
+does not suffer in comparison with the portraits of _Charles IX_
+attributed to François Clouet. The pencil drawing of _Marie Touchet_,
+Charles IX's mistress, in the Bibliothèque Nationale is also attributed
+to him.
+
+[Illustration: PLATE LXX.
+
+FRANÇOIS, DAUPHIN.
+
+_Photo Giraudon._
+
+_Musée Condé._
+
+Corneille de Lyon.]
+
+The painter who acquired the old Queen's special favour after the death
+of François Clouet was Carron, who made a series of designs
+(reproduced in tapestry) from the _History of Artemisia_, in which
+Catherine herself is represented mourning for Henri II in the guise of
+the Queen of Caria. A drawing by Carron representing the _Duc
+d'Alençon_, her youngest son, on horseback is in the passage of the
+Tribune at Chantilly.
+
+Pierre Gourdel, Dubois and Bussel, followers of François Clouet, are
+only known to us by mediocre engravings, but numerous drawings by the
+Brothers Lagneau have come down to us. These may be met with in the
+Louvre, in the portfolios at Chantilly and elsewhere. They suffer from
+an exaggerated taste for realism; and representations of old, wrinkled
+men and women seem to have been their favourite themes. A good example
+of their work is the portrait of an _Old Man_ at Dijon, where, however,
+it is erroneously assigned to Daniel Dumoustier. This latter artist, on
+the contrary (according to his own statement), took particular pleasure
+in representing his sitters as younger and more beautiful than they
+really were. By him there are at Chantilly portraits of _Louis XIII_ (in
+coloured chalk), of _Albert de Gondi Archdeacon of Paris_, of _Henri Duc
+de Guise_,[130] of the _Princess Palatine_ (the devoted friend of the
+Grand Condé), and an interesting portrait of _Henriette de France_ in
+her girlhood. Numerous other examples of his work are in the Louvre; and
+he is certainly the most important of the artists who followed François
+Clouet. In company with his sons Pierre and Nicolas he carried on the
+art of pencil drawing in France from the sixteenth well into the
+seventeenth century. Saint-Simon speaks of him as a man who was fond of
+books and knew both Italian and Spanish. He lived in the Louvre, and
+throughout his lifetime retained his hold upon public taste.
+
+There is yet one more artist-family to be mentioned: that of the
+Quesnels, who were held by the two first Bourbon Kings, Henri IV and
+Louis XIII, in the same high estimation as were the Clouets by the
+Valois. There are two portraits at Chantilly (Cabinet Clouet) which are
+attributed to François Quesnel: that of the _Duc de Sully_ and of his
+brother _Philippe de Bethune_. These paintings markedly display the
+strong tendencies to realism so characteristic of the Brothers Quesnel.
+
+[Illustration: Plate LXXI.
+
+HENRI DE GUISE.
+
+Dumoustier.
+
+Musée Condé.
+
+MARECHAL DE VIELVILLE.
+
+François Clouet. (Salting Collection).
+
+British Museum.
+
+_To face page 246._]
+
+Yet another French picture at Chantilly of the Clouet School has to be
+recorded, the authorship of which is uncertain. It represents _Gabrielle
+d'Estrées_, mistress of Henri IV, seated in her bath, with her infant
+sons (one being on the arm of his nurse) beside her. It is a composition
+which occurs frequently and seems to be rather meant for an allegory
+than for a portrait. Other versions of it are in the Louvre, at Doughty
+House Richmond, and in the Collections of Baron Pichon and the
+Viscomtesse de Zanzé. In this last example one of Gabrielle's sisters is
+also introduced. She turns her back to the spectator, whilst Gabrielle
+herself--her bare neck adorned with a string of fine pearls--faces
+full round. At the Musée Condé (Cabinet des Gemmes) there is a
+miniature representing _Gabrielle d'Estrées and her two Children_, which
+bears unmistakable likeness to this portrait. The late M. Gruyer in his
+_Catalogue Raisonnée_ of the Musée Condé justly points out that this
+composition testifies to the decadent turn taken by the late
+sixteenth-century French School; and we sadly miss the good taste and
+the refinement which are such marked qualities in the portraiture of
+François Clouet.
+
+
+
+
+CHAPTER XVIII
+
+FROM NICOLAS POUSSIN TO COROT
+
+
+French seventeenth-century Art does not offer any such difficult
+problems as those presented to us by the portrait-painters who lived and
+laboured during the period of the Clouets, for the artists of this
+latter period in most cases were accustomed to sign their names to at
+least a certain number of their works, whereby they can be easily
+identified.
+
+On the very threshold of this new Art-development we find the Brothers
+le Nain, who, choosing a totally different type of work, kept aloof from
+kings, princes and courtiers and devoted their attention chiefly to
+scenes of peasant life. _Le Repos des Paysans_ at the Louvre is one of
+their best and most characteristic works. So also are _La Forge_ and a
+portrait of _Henry II de Montmorency_, the last of his race, which ought
+to be at Chantilly. There is in the Cabinet Clouet at the Musée Condé a
+powerful portrait of _Dr. Fagon_, physician to Louis XIV, by Mathias le
+Nain. Chardin, who continued in their tradition a century later, is
+unfortunately not represented in the Musée Condé.
+
+Nicolas Poussin also adopted a style of his own, although it was of a
+different kind. He was greatly attracted by the antique and his heart
+was set on visiting Rome, whither, after long struggles in Paris, he at
+length found his way. There he received from the painter Domenichino the
+necessary training for the work which he desired to take up. The French
+sculptor Quesnoy befriended him, and the poet Marino introduced him to
+Cardinal Barberini, who commissioned from him two pictures: _The Death
+of Germanicus_ and _The Capture of Jerusalem_. When fame came to him
+France reclaimed him. He was greatly favoured by Richelieu and entrusted
+with the decoration of the Louvre. He found, however, a rival in this
+enterprise in the person of Simon Vouet; and difficulties arose, because
+Poussin claimed his right to carry out the whole work independently and
+on his own responsibility. Finding that he could not attain this object,
+he returned to Rome under the pretext of fetching his wife and never
+returned. He lived thenceforth in Italy; for, like the Brothers le Nain,
+he had no desire to become a Court Painter. His pictures were,
+nevertheless, greatly admired in France during his lifetime; and there
+are no less than nine large canvases by him in the Galerie des Peintures
+at the Musée Condé, besides numerous drawings. Amongst these may be
+noted: _The Infancy of Bacchus_; _Theseus finding his Father's Sword_
+(with a striking architectural background); and _Numa Pompilius and the
+Nymph Egeria_, a composition wherein the artist displays to the full
+his skill in dealing with romantic landscape. A drawing of _Daphne[131]
+flying to her father's protection_ who transforms her into a
+laurel-bush, has special charm and shows those characteristics which he
+handed on to his brother-in-law and pupil Dughet, called after him
+"Gaspar Poussin." There are two landscapes by the latter at Chantilly
+(Galerie des Peintures): _An Alley in a Wood_, and _A View of the Roman
+Campagna_, a subject of which he never tired. His sunsets foreshadow
+those of Claude Lorraine, who in his power of rendering atmospheric
+effect and the rays of the sun was only equalled by Turner some
+centuries later. The National Gallery and the Louvre possess some of
+Claude's finest landscapes, while Chantilly has chiefly drawings,
+amongst which the most noteworthy are the _Castello di S. Angelo_ and
+the _Aqueducts of the Roman Campagna_.[132]
+
+[Illustration: PLATE LXXII.
+
+DAPHNE METAMORPHOSED INTO A LAUREL TREE.
+
+_Photo. Giraudon._
+
+_Musée Condé._
+
+Nicolas Poussin.]
+
+Philippe de Champaigne, who came in his youth to France from Brussels,
+was a college friend of Poussin at Laon in 1623; and shares with him
+that same sense of freedom in his work. Poussin reached his goal in Rome
+through classical work, whilst Philippe de Champaigne devoted himself to
+portraiture, in which class of work he was most assiduous. His portraits
+of _Cardinals Richelieu_ and _Mazarin_ in the Musée Condé came from
+the Gallery in the Palais-Royal and are magnificent examples of his
+methods.
+
+Another portrait-painter who deserves mention here is Jacques Stella,
+who painted the _Grand Condé_ as the Hero of Rocroy, at the age of
+twenty-two--a portrait which is singularly attractive and has a special
+historical interest. This painting, which was always highly prized by
+the Bourbon-Condé family, now hangs in the Galerie des Batailles.
+
+Another portrait of the same personage, painted after he had reaped
+further laurels at Fribourg and at Nördlingen, is by Beaubrun, the same
+artist who painted his only sister _Geneviève de Bourbon_. Both these
+pictures are in the Cabinet Clouet.
+
+A figure which stands out with some insistence amongst French artists of
+the seventeenth century is Charles Le Brun. He was first of all a pupil
+of Simon Vouet, but becoming acquainted with Nicolas Poussin and urged
+on by enthusiasm for his work, followed this master to Rome. Returning
+to Paris with an established reputation, he fell in with Colbert, who
+perceived in him the very person needed for the Gobelins Factory. Le
+Brun fully realised these expectations since he not only organised this
+great concern but subsequently, with the assistance of Van Meulen,
+furnished designs for a _History of the Kings of France_, which was
+presently reproduced in tapestry in those celebrated workshops. He was
+also the founder of the French Academy in Rome; and Louis XIV, who
+conferred on him the office of Court Painter, took him to Flanders
+during the campaign of 1676. The portrait at Chantilly of _Pomponne de
+Bellièvre_, first President of the Parlement of Paris (engraved by Van
+Schuppen), represents his skill as a painter of portraits. His work can,
+however, be more profitably studied in the Galerie d'Apollon at the
+Louvre.
+
+Eustache Le Sueur, another pupil of Simon Vouet, earned fame by his
+decorative work in the Hotel Lambert at Paris and by his _Scenes from
+the Life of St. Bruno_, now in the Louvre. He is represented at the
+Musée Condé by some fine drawings.
+
+When Colbert was supplanted by Louvois another painter came to the front
+in the person of Mignard, also a pupil of Vouet. He studied in Rome,
+where he copied a number of paintings in the Farnese Gallery for the
+Cardinal of Lyons, Richelieu's brother. He married the beautiful Anna
+Avolara, daughter of a Roman architect and model for his _Madonnas_, for
+which there was a great demand. No sooner had he acquired a certain
+amount of fame than the King of France commanded him to return home. On
+the way, however, he fell ill, and had to stop at Avignon. Here he first
+became acquainted with Molière; and the portrait which he painted of
+this great poet is beyond doubt his _chef d'oeuvre_.[133] It occupies
+a prominent position in the Tribune at Chantilly, where it commands
+much attention and admiration. The great esteem in which the author of
+_Tartuffe_ was held by the Grand Condé is well known and it is by a
+singular piece of good fortune that the best of all the existing
+portraits of Molière should have found its way into the Musée Condé. If
+Mignard--and not without reason--is sometimes accused of superficiality,
+this complaint must surely be modified by the evidence of this portrait,
+which displays an artist of very considerable power.
+
+There is at Chantilly another portrait by Mignard of special interest.
+It is that of _Madame Henriette d'Angleterre_, the beautiful and
+ill-fated daughter of Charles I, first wife of Philippe, Duc d'Orléans,
+the King's brother. He also repeatedly painted likenesses of the young
+King himself, including one sent to Spain to be shown to his intended
+bride the Infanta Marie Thérèse.
+
+At a maturer age Louis XIV was painted by Rigaud, a pupil of Le Brun.
+The portrait of him at Chantilly (Cabinet Clouet) is a smaller replica,
+signed by the painter himself, of the larger work executed in 1701 for
+his son, Philip V of Spain--a painting which was, however, kept back at
+Versailles and is now in the Louvre.
+
+Hyacinthe Rigaud was considered a great portrait-painter and many
+personages of note gave him commissions. There is also a fine portrait
+at Chantilly by his younger contemporary and follower, Largillière, of
+_Mademoiselle Duclos_, a celebrated _tragédienne_ who made her _début_
+at the Comédie Française in 1683. She is here portrayed in the rôle of
+_Ariane_ (Salle Caroline), and her sumptuous robes are painted with all
+the care and minuteness so characteristic of this artist. These
+qualities are again displayed in a portrait of the _Princess Palatine,
+Charlotte Elizabeth_, second wife of Philippe d'Orléans and mother of
+the Regent. In this portrait Largillière shows his highest talents, and
+had it not been for the fact that "Liselotte" (although already
+middle-aged) followed the taste of her time by permitting herself to be
+painted as a Naiad this would perhaps have been one of the most faithful
+likenesses of this interesting princess.
+
+[Illustration: PLATE LXXIII.
+
+LOUISE-HENRIETTE DE BOURBON CONTI.
+
+_Photo Braun & Co._
+
+J. M. Nattier.
+
+A FRIEND OF THE CONDÉS.
+
+_Photo Braun & Co._
+
+Largillière.]
+
+Largillière resided for many years in England and studied for some time
+under Sir Peter Lely. On his return to Paris he was taken up by Charles
+Le Brun. His style belongs as much to the seventeenth as to the
+eighteenth century. Elegance and luxury, and a touch of serenity prevail
+in all his portraits. Mariette was greatly struck by his personal vigour
+and tells us that he went on working even up to his eighty-sixth year.
+Although too often over-exuberant he generally succeeded in imparting to
+his patrons great liveliness of aspect, and they _live_ still, clad in
+their most sumptuous apparel. Such is the portrait of the elegant
+"_Unknown_"[134] at Chantilly, once in the Collection at the Palais
+Bourbon; from which circumstance we may suppose that the sitter was some
+intimate friend of the Condé family.
+
+By Jean Marc Nattier there is at Chantilly a life-size portrait of
+_Mademoiselle Nantes_, daughter of Louis XIV by Madame de Montespan, and
+wife of the Duc de Bourbon, grandson of the Grand Condé. Her daughter
+Louise Henriette, who married the Prince de Bourbon Conti, was also
+painted by Nattier[135]; and by the same artist--one of his best
+works--is the above-mentioned portrait of _Charlotte Elizabeth
+Soubise_,[136] the young wife of Louis Joseph, Prince de Condé,
+represented plucking carnations in the gardens at Chantilly.
+
+Nattier's portraits of the Royal Family of Bourbon, both in the Louvre
+and at Versailles, are very numerous. He painted every one of Louis XV's
+daughters[137] and many other fair women, who, however, bear a strong
+general resemblance to one another, whereby his portraits are often
+rendered conventional and monotonous.
+
+It is therefore rather refreshing to turn from Jean Nattier to Desportes
+and Oudry, who both stand on the threshold of the eighteenth century and
+who revived realistic landscape painting--an art which had practically
+lain dormant since the days of Pol de Limbourg; for Claude Lorraine and
+the Poussins had directed it into wholly diverse channels. _Briados_ and
+_Balthazar_, two Spanish hounds formerly belonging to the House of
+Condé, are exquisitely painted by Desportes, who was highly thought of
+by all lovers of the chase and was a constant guest at the
+hunting-parties held in the various French châteaux. A painting by him
+in the Louvre representing a _Huntsman with his dog and bag of game_
+standing in a fine landscape shows his skill at its very best.
+
+Oudry's compositions come very near those of Desportes: for example, his
+_Chasse du Loup_ and _Chasse du Renard_ at Chantilly, both of which are
+noted in the _Inventory_ of the Palais Bourbon. Oudry was encouraged by
+Largillière to take up decoration also, which he did with conspicuous
+success. He was admitted into the Academy in 1699, and being appointed
+to the Directorship of the Tapestry Factory at Beauvais instilled new
+life into that interesting branch of art, which had sadly decayed under
+the direction of Charles Le Brun's imitators. His graceful talent shows
+itself in certain exquisite designs from La Fontaine's _Fables_ executed
+in tapestry at this factory. His favourite abode was the forest around
+Chantilly; and there he spent much time in painting animals direct from
+nature. By insisting that his ideas should be accurately transcribed he
+trained the weavers at Beauvais with much care, thus preparing the way
+for Boucher, the decorative genius of the next generation. A splendid
+Gobelins tapestry, executed after a cartoon by Boucher, adorns one side
+of the Grand Staircase at Chantilly. It represents a young woman seated
+in a garden to whom a boy and girl are offering fruit and flowers. On
+the opposite wall there is another tapestry from the workshop of
+Audran, executed after de Troy.
+
+A copy in this collection (intended for the purposes of an engraving) by
+Boucher of a portrait of _Watteau_ by himself is not devoid of interest;
+but it is in the Louvre, at Versailles, and above all in the Wallace
+Collection, rather than at Chantilly, that we derive a clear idea of
+Boucher's light and graceful style. His _Sunrise_ and _Sunset_ on the
+staircase of Hertford House are considered to be among the finest of his
+creations. Madame de Pompadour, who was his enthusiastic patroness,
+frequently sat to him in a variety of attitudes; although his great
+talent was not portraiture, but decorative work, whereby he marks a
+decidedly new phase in French Art.
+
+       *       *       *       *       *
+
+After an exceptionally long reign Louis XIV had at last passed away. He
+had asserted himself as strongly in Art as he had done in politics and
+it is worthy of note that, immediately after his death, artists were
+once more able to take their own independent courses. At this point,
+therefore, in the history of French Art we come upon a somewhat sudden
+change, visible also in the art of the cabinet-maker and the decorator.
+The later Bourbon Kings and Queens left their gorgeous salons and took
+refuge (with evident personal relief) in smaller and homelier chambers.
+These less imposing apartments, however, also required suitable
+decoration and serviceable furnishings: and it was here that Boucher
+found his opportunity. The boudoir with its delicate colouring and
+elegant upholstery played a significant rôle under the reigns of Maria
+Leczinska and Marie Antoinette, and the _petits appartements_ at
+Versailles became examples of a new style. Paintings on a smaller scale
+suitable for these graceful _bonbonnières_ were soon in demand; and from
+these it was but a step to the taste of Watteau, who is perhaps the most
+typical artist of this period. _Plaisir Pastoral_, _l'Amante Inquiète_,
+and _l'Amour Désarmé_ at Chantilly are fine examples of this artist's
+work. _Le Donneur des Sérénades_ in the Musée Condé, of which there is a
+similar composition at Buckingham Palace belongs to his later period,
+that is to say, to the last five years of his life. This work is said to
+represent Mezetin (one of the leading actors at the Comédie Italienne
+established at the Hôtel du Bourgogne) seated on a bench in a classic
+garden tuning his guitar. The _Amante Inquiète_, which forms a pendant
+to this picture, is of equal merit. Everything in these small paintings
+is refined and elegant, even to Nature herself--a style far more typical
+of Watteau, than the scenes of camp-life which mark his stay at
+Valenciennes in 1709. A study in red chalk of a _Warrior_, preserved in
+the Rotunda at Chantilly, recalls this period. In his sketches, of which
+a great number are in the Louvre, Watteau exhibits his talent as a
+draughtsman of the highest order and as a worthy pupil of Claude Gillot,
+the earliest creator of the style for which Watteau became so famous.
+His relations with Crozat, the famous financier and collector, who was
+the first to recognise his genius, began in 1612, and it was in his
+palace that he had an opportunity of studying paintings by the great
+Venetian masters and landscapes by Rubens, both of which so decidedly
+influenced his subsequent style. There are exquisite pictures by him in
+the Louvre and in the Wallace Collection. His _Ball under the Colonnade_
+at Dulwich is very famous.
+
+[Illustration: Plate LXXIV.
+
+Photo. Giraudon.
+
+JOSEPH AND POTIPHAR'S WIFE.
+
+By Prud'hon.
+
+Photo. Giraudon.
+
+THE GUITARPLAYER.
+
+By Watteau.
+
+Musée Condé.
+
+_To face page 25_]
+
+Lancret was a younger contemporary of Watteau, and observing his success
+adopted his style; without, however, attaining to his eminence. His
+_Déjeuner de Jambon_ in the Galerie des Peintures at Chantilly presents
+a company of merry-makers on the point of becoming riotous; and opposite
+to it hangs a companion picture by de Troy entitled _Le Déjeuner
+d'Huîtres_. The host in this latter composition--a figure dressed in
+scarlet--is probably a Prince of the House of Orleans presiding at a
+feast in the Palais Royal. Many of the guests represented are said to be
+personages well known in their day: for King Louis Philippe was still
+able to distinguish them by name. They are certainly enjoying their
+oysters and iced champagne; and the satisfaction of the well-fed is
+clearly exhibited in their features and gestures.
+
+Together with this group of artists mention must be made of Christophe
+Huet, designer and decorator of the _Grande Chinoiserie_ at Chantilly.
+These decorations in a style so much in vogue in the seventeenth and
+eighteenth centuries were once attributed to Watteau, Gillot, Oudry,
+and others until an Account, dated 1741, was found in the Archives of
+Chantilly disclosing the name of Christophe Huet. They cover the panels
+of the so-called "Salon des Singes." Scenes and episodes from the chase
+and the tea-party, architectural effects and other subjects, all are
+carried out in a pseudo-Chinese style. Apes clad in Condé uniforms and
+carrying flags act as outriders or grooms under the direction of
+grim-looking mandarins robed in gorgeous Oriental apparel. Besides the
+decorations here there is on the ground floor of the Château a "Petite
+Singerie" decorated in very much the same style: humorous scenes,
+wherein female monkeys are riding or occupied with their toilet. Jean
+Baptiste Huet, son of this Christophe, was also repeatedly commissioned
+by Prince Louis Joseph de Condé to paint pictures of his favourite
+animals.
+
+The celebrated painter of pastels, Latour, is represented at Chantilly
+by a portrait of _Madame Adelaide de France_, daughter of Louis XV. His
+portraits, now recognised as even superior to those of Boucher and
+Lancret, are fine studies of character, but they are very rare. The
+pastel of the handsome _Marie Fel_, an opera-singer from Bordeaux by
+whom this artist was befriended, is very celebrated; and a group of
+portraits at St. Quentin place him in the foremost rank of French
+portrait-painters. His pre-eminent talents have been fully recognised by
+modern students of the French School.
+
+His contemporary, Peronneau--till recently known chiefly as an engraver
+of the works of Boucher, Van Loo, and others--is now known to be the
+artist who painted a charming _Portrait of a Girl_ in the Louvre and
+other pastels. Rosalba Carriera's great success in that medium is also
+well known. The young King Louis XV, the Regent, and many other
+important personages were painted by her, and in her time she put into
+the shade both Latour and Peronneau.
+
+Duplessis brings us to the time of the Revolution, when ruin fell upon
+so many of the artists of that day. His portrait of the _Duchesse de
+Chartres_, mother of Louis Philippe and grandmother of the Duc d'Aumale,
+is at Chantilly. She is seated in a garden, lost in profound sorrow at
+the departure of her husband to a naval engagement, symbolised by a ship
+disappearing in the distance: a refined and graceful presentation of a
+charming woman capable of winning the hearts of all around her. The
+portraits of _Louis XVI_ and of the _Comte de Provence_ by this painter
+in the Musée Condé are considered to be among the best likenesses of the
+last Bourbon Kings. Duplessis held the post of Administrator of the
+Galleries at Versailles.
+
+Greuze, like Watteau, marked out a special line of his own; and with him
+French bourgeois Art reappears once more. His domestic scenes were
+described by Diderot as follows: "_Cet artist est le premier entre nous
+qui se soit avisé de donner des murs dans l'art_." This remark applies
+to his _Malédiction Paternelle_, _l'Accordée du Village_, etc.
+
+[Illustration: PLATE LXXV.
+
+_Photo. Giraudon._
+
+Young Girl.
+
+By Greuze.
+
+Musée Condé.]
+
+His charming _Portrait of a Young Girl in a little cap_ at Chantilly
+represents Georgette, daughter of his concierge in Paris; and she can be
+recognised again in the same artist's _l'Accordée du Village_ in the
+Louvre, and perhaps also in the painting of a _Young Girl winding Wool_,
+lately added to Mr. Pierpont Morgan's Collection. The pendant to
+_Georgette_ in the Musée Condé is a portrait of a _Young Boy_, her
+brother. These two paintings, together with _Le Tendre Desir_, belong to
+the artist's best period, whilst _La Surprise_ is a work of his old age.
+This last work exhibits to us the curious fact that a problem which had
+steadily pursued him throughout his long life--namely, how to paint the
+first awakenings of love in a maiden's mind--still puzzled him at the
+age of nearly eighty. It is certainly an irony of fate that after a
+romantic attachment to a young Italian Countess--whose portrait he
+painted, but whom he was prevented from marrying--he should have
+returned to Paris, to become the husband of a woman much older than
+himself, who presently made his life almost unendurable. It was perhaps
+the memory of this youthful idyll which induced him to paint so often
+those young maidens whose faces smile at us from the walls of so many
+Galleries throughout Europe. The _Young Woman in a Hat_ in the Wallace
+Collection is perhaps the most fascinating of them all, since nothing
+can surpass the grace and piquancy of expression in her lovely
+countenance.
+
+Greuze was in high favour with the Royal Family, and it is believed that
+he painted a portrait of the Dauphin at the Tuileries after the
+unfortunate flight to Varennes, and another of his elder sister, Madame
+Royale, when in the Temple. The great upheaval of the Revolution struck
+Greuze also, and as a painter he became no longer the fashion. His wife
+squandered his fortune and he died in poverty, slaving to the very last.
+
+The portraits at Chantilly of _Marie Antoinette_ (in 1795) and of
+_Madame de Pompadour_, two of the loveliest women of their day, are by
+Drouais, a pupil of Van Loo and Boucher. The happy days of Trianon were
+not yet over when these were painted, and the Dauphine of France,
+presented here as _Hebe_, seems to be at the height of her glory and
+charms. How different to the careworn and haggard woman whose portrait
+hangs in the Musée Carnevalet over the very bed occupied by her in the
+Temple before her execution!
+
+Madame Vigée Le Brun carried the style of Greuze, at one time her
+master, into the middle of the nineteenth century. She is represented in
+the Musée Condé (Cabinet Clouet) by several small portraits: _Marie
+Caroline, Queen of Naples_, painted in 1768, and her two daughters,
+_Marie Thérèse Caroline_, wife of Francis II Emperor of Austria, and
+_Marie Louise Josephine_, wife of the Grand Duke of Tuscany. Whilst the
+first two of these appear to be copies of already existing pictures the
+portrait of _Marie Louise Josephine, Queen of Etruria_, shows special
+merits and seems to be taken directly from life, probably during one of
+Madame Le Brun's tours in Italy. A strong vitality is expressed in her
+beautiful face, forming a marked contrast to the portrait of her mother,
+the Queen of Naples. Madame Le Brun, who, in spite of her sex became a
+member of the French Academy, was one of Marie Antoinette's favourite
+painters. After the Revolution she established herself in St. Petersburg
+and did not return to Paris until 1801, when she was enthusiastically
+welcomed. She painted many of the most celebrated beauties of her day,
+but all these portraits seem to bear the mark of a period then fast
+disappearing.
+
+Louis Joseph de Bourbon, about 1787, commissioned Fragonard to paint
+small portraits of the Princes and Princesses of the Royal House[138] of
+Bourbon and the House of Bourbon Condé. Among these are portraits of the
+_Dauphin Louis_, son of Louis XVI, and of the _Duc d'Enghien_ by whose
+tragic death the Condé family became extinct. Fragonard was a pupil of
+both Boucher and Chardin. He went to Italy with the Prix de Rome and in
+1765 was elected a member of the Academy. He excelled in every style of
+painting--_genre_, landscape, portraits, interiors, and historical
+subjects. When in 1765 he exhibited his _Callirhoé and Corésus_ (a
+subject taken from the poet Roy) Diderot and Grimm thought for a moment
+that he might resuscitate the art of historical painting in France. This
+picture was bought by King Louis XV but was never paid for, and
+Fragonard returned to his portrait-painting, which he accomplished with
+very great brilliance and rapidity. There is a series of these portraits
+in the La Caze section of the Louvre, chiefly representing the actors
+and actresses of his day. His remarkable talent for decorative painting
+reveals itself in certain designs destined for Madame Du Barry's
+pavilion, but stupidly condemned by her advisers. When the Revolution
+broke out, the artist fled to Grasse to escape imprisonment and the
+scaffold taking these paintings with him, and there completed the series
+by a fifth composition. The whole set are now in the collection of the
+late Mr. J. F. Pierpont Morgan.
+
+Fragonard in some of his work rose to the level of Watteau and he
+certainly surpassed Boucher: but, like Greuze, he suffered the
+humiliation of seeing himself pass out of fashion, supplanted by the
+rising sun of Louis David.
+
+It certainly is to be regretted that Fragonard was not also commissioned
+to paint the above-mentioned life-size portrait of _Louis Joseph de
+Bourbon_ at the Musée Condé. This privilege was given to a Madame de
+Tott, an artist quite unknown in the history of Art. She was a
+contemporary of Bartolozzi, who engraved her picture, and thus handed
+down her name to posterity; for we read upon it, "_Madame de Tott
+pinxit--Bartolozzi sculpsit_."
+
+Louis Petit, another indifferent painter of the same period, executed a
+portrait of the last _Prince de Conti_ in hunting costume. This Prince
+left France with his Orleans cousins during the Revolution and died in
+Spain. To the same artist is attributed the portrait of _Louis Henri de
+Bourbon, Duc d'Enghien_. He has an interesting face, recalling that of
+his ancestor the Great Condé, but there is a touch of melancholy in his
+expression, telling of adversity endured and apparently foreshadowing
+his tragic death. His father, the last Prince de Condé, who during the
+French Revolution lived chiefly in England, was painted by Danloux, a
+Frenchman who had also sought shelter on the hospitable shores of Great
+Britain. This Prince is here represented as leader of the Condé forces,
+that is, of the French _émigrés_; and we can detect the influence of
+Reynolds and Gainsborough in the light, harmonious colouring of the
+composition, which was bought by the Duc d'Aumale from a descendant of
+Robert Claridge, in whose house the last Condé lived during his exile.
+
+By Charles Vernet, son of the celebrated marine painter Joseph Vernet,
+there is at Chantilly a large landscape with a hunting scene. It was
+painted during the Directoire, and _Philippe Egalité_ and his son the
+_Duc de Chartres_ (afterwards _Louis Philippe_) may be distinguished in
+the foreground. Charles Vernet delighted in depicting horses and scenes
+of sport, a style rendered even more famous by his son Horace Vernet.
+There are no less than four pictures by the latter in the Musée Condé:
+_The Duc d'Orleans (Louis Philippe) asking for hospitality from the
+Monks of St. Bernard_; a portrait of _Louis Philippe_, while still Duc
+d'Orléans; _Le Parlementaire et le Medjeles_, in which the various
+Algerian types are represented in glowing colours; and _Louis Philippe
+entering the gates of Versailles attended by his sons_. This latter is a
+reduced copy by Perrault of the large original at Versailles, painted to
+commemorate the occasion when Louis Philippe handed over the Palace of
+Versailles, with all its treasures of art and historical reminiscences,
+to the French Nation as a Public Museum.
+
+We now come to an artist whose place is upon the threshold of the
+nineteenth century--namely, Pierre Prudhon. A sketch of a _Venus_ at
+Chantilly is a study for the picture _Venus and Adonis_, which made his
+name at the Salon of 1812. Most fascinating are _Le Sommeil de Psyché,
+Homage à Beauté_, and a sketch[139] of _Joseph and Potiphar's Wife_:
+elegant and graceful creations recalling the style of Greuze; who in
+point of fact admired his work greatly, and said of him, "This man will
+go farther than I have done." David and his set contemptuously
+designated him as the "_Boucher of to-day_"; but Napoleon commissioned
+him to paint portraits of both his Empresses, _Josephine_ and _Marie
+Louise_, and conferred upon him the Cross of the Legion of Honour.
+
+For his own portrait the Emperor chose his official painter, Gérard,
+who was at that time considered so great an exponent of this branch of
+art that he was styled "_the painter of kings_" and "_the king of
+painters_." Napoleon is represented by him as _First Consul_; and the
+expressive eyes, the mouth displaying power to command and the broad
+forehead partially concealed by a mass of hair, recall the great Roman
+whom he emulated and with whom he loved to be compared. The painter, no
+doubt, purposely accentuated in this portrait such facial resemblances
+as he was able. This commission was executed at the Tuileries in 1803.
+
+At the Fall of the Empire Gérard was presented by Talleyrand to Louis
+XVIII; and later still in 1820 Louis Philippe commissioned him to paint
+a portrait of the _Duchesse d'Orléans_ (afterwards Queen Marie Amélie)
+in a white robe adorned with pearls. This painting was highly treasured
+by the Duc d'Aumale, who out of filial affection hung it above his bed,
+where it still remains.
+
+Another portrait by Ary Scheffer of the same royal lady as a widow is
+also here. This was painted at Claremont during the exile of the Orleans
+family; and by the same artist is a portrait of the _Duc d'Orléans_,
+Louis Philippe's eldest son, who met with an untimely end in a carriage
+accident. But Ary Scheffer's _chef d'oeuvre_ at Chantilly is a
+portrait of _Talleyrand_, the most renowned and brilliant man of the
+Revolution,--a painting bequeathed to the Duc d'Aumale by his friend
+Lord Holland.
+
+Ary Scheffer's greatest pupil was Puvis de Chavannes, who far surpassed
+his master in the art of exquisite line--a characteristic especially
+noticeable in his painting of _Ste. Geneviève_ in the Pantheon, where he
+shows us the Patron Saint of Paris watching over her beloved city; and
+again in another painting of _St. Mary Magdalen_ at Frankfort. This
+artist is unfortunately not represented at Chantilly; nor is Jacques
+Louis David, whose vast canvases, the _Sacre et l'Intronisation de
+l'Empereur_ and _La Distribution des Aigles_, are so conspicuous in the
+Louvre. In spite of the comments of Diderot--who very wisely pointed out
+that the chief aim of the ancients was to reproduce Nature and that
+those who merely copied archaic painters were doing just the reverse of
+those whom they were trying to imitate,--public taste followed David and
+discarded their former favourites, Greuze and Watteau.
+
+Ingres, David's pupil, is represented at Chantilly by some of his finest
+work. There is in the first place _His Own Portrait_ painted at the age
+of twenty-four--a fine work, grand in its very simplicity--which Prince
+Napoleon always desired to possess and which the artist could hardly
+refuse to present to him. It passed thence into the possession of Reiset
+in 1868 and eventually in 1879 became the property of the Duc d'Aumale.
+
+A most impressive picture is _Stratonice_ (Tribune), painted for the Duc
+d'Orléans, who desired it as a pendant for Delaroche's _Assassination of
+the Duc de Guise_. It was painted at the Villa Medici in Rome, where it
+aroused great enthusiasm. His princely patron generously gave him 63,000
+francs for it, which was double the price agreed upon.
+
+Another greatly admired composition by him at Chantilly is a _Venus
+Anadyomène_, which bears close affinity to the famous _La Source_ in the
+Louvre.
+
+The genius of Paul Delaroche brings us into the nineteenth century. His
+style has been characterised as the _juste milieu_; for he neither
+affected the manner of the Neo-Classics nor did he lean too much toward
+the Romantics. Never was a cowardly and dastardly murder better depicted
+than in his treatment of the _Assassination of Henri, Duc de Guise_. The
+King, Henri III, pale and trembling, emerges from behind a curtain to
+gaze upon his slaughtered victim, whilst the hired assassins gloat over
+their ghastly deed. This picture, which hangs in the Tribune, was
+painted by Delaroche specially for the Duc d'Orléans.
+
+We now come to Eugène Delacroix, who, in company with Gericault, is
+considered as the pioneer of Romanticism. His _Capture of Constantinople
+by the Crusaders_ at Chantilly is a vividly composed representation of
+this important event. _The Two Foscari_ (Tribune) depicts one of the
+greatest tragedies in Venetian history. The Doge Francesco Foscari is
+shown to us sitting in judgment upon his own son, whom he is condemning
+to torture and banishment as a traitor to his country. The anguish of
+the son and the stern despair of the old father are suggested with
+wonderful skill. Delacroix's greatest efforts were, however, directed
+against the paralysing influences of Academism; and his paintings in the
+Palais Bourbon and in the Galerie d'Apollon in the Louvre prove him to
+have been the finest colourist of the later French School.
+
+Another artist of the Romantic School is Descamps, who is represented at
+Chantilly by no less than ten paintings and several water-colours.
+Amongst these a _Turkish Landscape_, painted during the artist's early
+period, is perhaps the most attractive. On one side of the picture all
+is mystery and darkness, whilst upon the other fall the rays of a golden
+sunset. The problems of light and shade, to which he devoted himself so
+earnestly up to the very end of his career, are here treated with great
+effect. The same idea pervades his painting of _Turkish Guards on their
+way from Smyrna to Magnesia_. A town with minarets is to be seen in the
+background; a dark blue sky flecked with luminous white clouds; camels
+and their riders; all breathing that dreamy oriental sensation which
+appealed to him so strongly, and which he was never weary of
+reproducing.
+
+Eugène Fromentin, who was as celebrated as a writer as he was as a
+painter, is represented in the Musée Condé by one of his finest
+landscapes. Transported to the Marshes of Medeah, a country so well
+described by him in his book _Un Éte dans le Sahara_, we see in the
+foreground three Bedouin chiefs, mounted on splendid Arab steeds,
+engaged in hawking. The atmosphere is transparent and clear, refreshed
+as it were by a recent shower, and the sky is flecked by white clouds.
+This artist, who died in 1876, was one of the most accomplished men of
+his time.
+
+By his contemporary Meissonier there are several paintings at Chantilly;
+the most important being _Les Cuirassiers de 1805 avant le Combat_. The
+moment is just before a projected attack; and the look of strained
+expectation upon the faces of the combatants is admirably expressed.
+Napoleon, surrounded by his staff, is easily recognised; and in the
+varying expressions of the long line of horsemen we perceive looks of
+determination to win or die. The reproach made by Mauclair to Meissonier
+that his style suffered from lack of originality and was copied from
+Dutch artists, if sometimes well founded, may at any rate be questioned
+by this picture. His _La Vedette des Dragons sous Louis XV_, though
+small in dimensions, is another important historical picture, whilst
+_Les Amateurs des Tableaux_ recalls a similar composition in the Wallace
+Collection.
+
+[Illustration: PLATE LXXVI.
+
+ARAB CHIEFS HAWKING IN THE DESERT.
+
+_Photo Giraudon._
+
+_Musée Condé._
+
+Eugène Fromentin.]
+
+Meissonier's best pupil was Jean Baptiste Detaille, the famous painter
+of battle-pieces. There is a picture of his at Chantilly entitled _Les
+Grenadiers à cheval à Eylau_,[140] where a gallant French officer with
+the cry "_Haut les Têtes_" leads his regiment on to victory. This is
+one of the _chef d'oeuvres_ of this artist, whose recent death is so
+much to be deplored.
+
+Of quite a different nature are the allegorical paintings of P. J. Aimé
+Baudry. The excellence of this master lies principally in decoration, as
+may be seen by his _Vision of St. Hubert_ in the Galerie des Cerfs; and
+he may be considered one of the most talented of the French artists who
+flourished during the second half of the nineteenth century.
+
+Winterhalter, who, although a native of Baden, acquired his artistic
+education in Paris and Rome, was one of the Court Painters to both Louis
+Philippe and Napoleon III. His portrait of the _Duc d'Aumale_ at the age
+of eighteen, as Commander of his regiment before his victorious campaign
+in Algiers, is at Chantilly; and there is here also a companion portrait
+of the _Duchesse_ as a young bride. She is clad in white, with a single
+rose in her fair hair, and her face is full of refinement and delicacy.
+
+Landscape-painting in France at the beginning of the nineteenth century
+had undeniably become conventional and tame; but quite suddenly this
+stagnant condition came to an end, and a revolution set in, caused by
+the exhibition of Constable's paintings _The Hay Wain_ and _A View near
+London_ in the Paris Salon of 1827. These pictures, purchased and
+exhibited in Paris by a French connoisseur, created intense interest in
+the French World of Art; and it is alleged that they were the immediate
+cause whereat French artists suddenly emerged from the studios wherein
+they had lingered so long and proceeding to the woods of Fontainebleau,
+began working from Nature herself. They awoke to recognise their own
+defects, already denounced by Chateaubriand, who had declared that
+French landscape-painters ignored Nature.
+
+Throughout the studios French artists warmly discussed the work of
+Constable, upon whom Charles X, at their special desire, conferred the
+Médaille d'Or; and it was suggested that the _Charette_ (_The Hay Wain_,
+now in the National Gallery) should be acquired by the French Nation.
+
+S. W. Reynolds, Constable's friend and pupil, whose exquisite little
+picture of the _Pont de Sèvres_ hangs in the Tribune at Chantilly, at
+this time also removed to Paris in order to satisfy the general demand
+for engravings of his master's works.
+
+But if the Barbizon School owed much to Constable, it is also certain
+that Constable and Wilson owed an equal debt to Claude Lorraine; and
+Turner perhaps even more so.
+
+By Corot there is but one painting at Chantilly, but it is one of his
+finest works. Everything in this picture breathes a spirit of peace and
+joy; the sky, the earth and the graceful young women--one of whom is
+playing a viola and another singing, whilst their companions listen or
+are plucking fruit--give a cheerful note to this vision of content.
+
+[Illustration: PLATE LXXVII.
+
+THE GRENADIERS AT EYLAU.
+
+_Photo Giraudon._
+
+Détaille.]
+
+It is styled _Le Concert Champêtre_[141] and recalls his series of
+paintings entitled _Souvenir d'Italie_. Corot appears to have commenced
+his studies in the woods at Fontainebleau even before Millet, Rousseau
+and Diaz, so that he may fairly be styled the _doyen_ of the now famous
+Barbizon School.
+
+By his pupil A. P. C. Anastasi there are several landscapes at the Musée
+Condé, one of which represents _Amsterdam at Eventide_.
+
+That Millet is absent from this collection is much to be regretted; but
+by Theodore Rousseau there are several landscapes, small in point of
+size, but nevertheless exhibiting this artist at his best; as for
+example, _Le Crépuscule en Sologne_ and _Fermes en Normandie_. Ary
+Scheffer was the first artist to understand and befriend Rousseau when
+he started away on lines of his own, and it was through the kind offices
+of this painter that one of his first pictures was bought by the Duc
+d'Orléans. His landscapes in Auvergne are early works; and those painted
+at Barbizon--such as the pictures above named--are later and more
+finished achievements.
+
+Dupré, by whom there are three early works, _Port St. Nicholas_, _Paris_
+and _Le Soleil Couchant_, accompanied Rousseau in 1841 to the
+neighbourhood of Monsoult, where they were frequently visited by Barye,
+Corot, and Daubigny. There is at Chantilly by this last artist a sketch
+of the _Château de St. Cloud_, a charming record of a spot full of
+memories, now no more. By Diaz de la Pena, the last of this group of
+painters, there is a wreath of flowers and birds painted in vivid
+colours upon the ceiling in the boudoir of the Petit Château once used
+by the Duchesse d'Aumale; and by Ziem (known as the "Painter of Venice")
+there is a landscape, _Les Eaux Douces d'Asie_, a subject magnificently
+treated by Diaz in a composition now in the Wallace Collection.
+Monticelli, Diaz's greatest pupil, the leading painter of the Second
+Empire and a great admirer of the Empress Eugenie, is unfortunately not
+represented here; nor are there any examples of the early French
+Impressionists. For here the Hand of Death intervened.
+
+[Illustration: PLATE LXXVIII.
+
+_Photo. Giraudon._
+
+"Concert Champêtre."
+
+By Corot.
+
+Musée Condé.]
+
+With Léon Bonnat's fine portrait of the _Duc d'Aumale_ our description
+of the paintings at Chantilly comes to an end; but attention should yet
+be drawn to various pieces of sculpture exhibited in the apartments of
+the Château, on the terraces, in the gardens and in the Park. A fine
+figure of _Jeanne d'Arc_ by Chapu is in the Rotunda, whilst a group of
+_Pluto and Proserpine plucking daffodils_ by the same sculptor is on the
+Great Terrace. Here also is the equestrian statue of the _Grand
+Montmorency_ by Dubois; and not far from it a life-size figure of the
+_Grand Condé_ by Coysevox, surrounded by busts of _Bossuet_, _La
+Bruyère_, _Molière_ and _Le Nôtre_. Copies in marble from the antique
+and the renaissance adorn the niches and plinths of the mansion and the
+avenues of the Park. A figure of _St. Louis_ by Marqueste surmounts
+the roof of the Chapel and Jean Goujon's reliefs ornament the Altar
+within. The famous portrait in wax of _Henri IV_ is in the Galerie de
+Psyché; and busts in marble of the _Grand Condé_ and of _Turenne_ by
+Derbais, of _Richelieu_ and of the last Princes of the House of
+Bourbon-Condé, are placed in the Cabinet des Livres and in various other
+rooms. Fine bronzes by Barye, Mène, Fremiet and Cain, adorn the
+mantel-pieces and consoles; whilst some exquisite enamel portraits by
+Limousin are exhibited in the Salle des Gardes.
+
+Most interesting, and worthy of more than a passing notice, is the
+collection of Chantilly Porcelain, an industry founded in 1730 by the
+Duc de Bourbon. A set of porcelain made at that time was placed in the
+King's Bedroom.[142]
+
+In the centre of the Galerie des Peintures stands a fine bust of the
+_Duc d'Aumale_ by Dubois, and in the Marble Hall lies his recumbent
+figure in full uniform by the same artist, a cast[143] of the marble
+figure upon his tomb in the Cathedral at Dreux.
+
+And so with the death of the man his work came to a close. But his
+genius as a collector has furnished France with one of the finest Homes
+of Art in the World; and she does well to remember with gratitude this
+scion of the Bourbon race, who stretched out his hand to expiate much.
+Every lover of Art throughout the world, and every wayfarer who in his
+wanderings finds his way to Chantilly, may well stand amazed at this
+collection and praise its creator. Nor in passing out should he fail to
+give a last glance at the silent effigy: a glance in which gratitude
+should be mingled with that emotion which ever holds the thoughtful
+spectator of departed greatness.
+
+[Illustration: PLATE LXXIX.
+
+TOMB OF THE DUC D'AUMALE.
+
+_In the Cathedral at Dreux. Cast at Chantilly._
+
+Paul Dubois.]
+
+
+
+
+INDEX
+
+
+Abdul Kader, Duc d'Aumale's victory over, 117
+
+_Accordée du Village, Le_, by Greuze, 262
+
+_Adoration of the Magi_, by Jean Fouquet, 190, 191
+
+Ahasuerus. See King
+
+_Ailly, Heures de._ See Books of Hours
+
+Aix-la-Chapelle, Peace of, 79
+
+Albano, a work by, 132
+
+Albret, Duc de. See Condé, fifth Prince de
+
+Albret, Henri de, King of Navarre, portraits of, 136, 141, 223
+
+Albret, Jeanne de, Queen of Navarre, marriage, 16;
+  a Protestant, 17;
+  helps the Huguenots, 21;
+  sudden death, 22, 243;
+  portraits of, 22, 141, 224, 225, 226, 230, 235
+
+Aldine editions in the Standish Library, 129
+
+Alençon, Duc de, portraits of, 141, 182, 245
+
+Alençon, Mme. Vendôme de, portraits of, 222, 223, 239
+
+Alençon, Mlle. de, and Duc d'Enghien, 69
+
+Alexandra, Queen, visits Chantilly, 122
+
+_Alley in the Wood, An_, by Dughet, 250
+
+Allori, Alexander. See Bronzino
+
+_All Saints' Day_, by Fouquet, 194
+
+_Amante Inquiète_, by Watteau, 258
+
+_Amateurs des Tableaux, Les_, by Meissonier, in the Wallace Collection, 272
+
+_Amazon_ of the Vatican, a statuette, 137
+
+Amboise, Cardinal George de, owner of _Valere Maxime_, 158
+
+Ambrogio di Spinola, Marchese. See Spinola
+
+Amélie, Queen, and the Duc d'Aumale's marriage, 117
+
+"Amico di Sandro," 149
+
+_Amour Désarmé, Le_, by Watteau, 258
+
+_Amphitryon_, poem by Molière, 75
+
+_Amsterdam at Eventide_, by Anastasi, 275
+
+Anastasi, A. P. C., 275
+
+_Angelic Choir_, miniature by Simon Marmion, 197
+
+Angers, disaster of, 25
+
+Angleterre, Mme. Henriette de, portrait of, 253
+
+Angoulême, Duc de. See Francis I
+
+Angoulême, Duchesse de (formerly Diane de France), marriage, 9;
+  portrait of, 151
+
+Angoulême, Marguerite (sister of Francis I), portraits of, 141, 216, 228;
+  manuscript of, 158
+
+Anjou, Duc de. See Henri III
+
+Anjou, Louis II of, King of Sicily, portrait of, 201
+
+Anne of Austria, character, 40;
+  and the Grand Condé, 44, 45, 47, 55, 56, 64;
+  and Princesse de Condé, 52, 54
+
+Anne of Bavaria, marriage of, 69
+
+Anne de Bretagne (wife of Louis XII), miniature of, 138;
+  Prayer Book of, 198;
+  portrait of, 208;
+  _Tournois_ tapestry, 208, 209;
+  medal of, 210;
+  her daughter's marriage, 216
+
+_Annunciation_, by Francia, 145;
+  by the Limbourgs, 173;
+  by Jean Fouquet, 184, 189, 193
+
+Antioch, Jean de, translates Cicero's _Rhetorics_, 157
+
+_Antiochus and Stratonice, The Story of_, by Ingres, 135
+
+_Antiquitates Judæorum_ of Josephus, miniatures by Jean Fouquet,
+   155, 181, 182, 185, 189, 200
+
+_Arab Chiefs Hawking in the Desert_, by Fromentin, 272
+
+_Architecture, Treatise on_, by Filarete, 180
+
+_Ariane._ See Duclos Mille.
+
+Aristotle's _Ethics_, 157
+
+Armagnac, Comte de, war with Duc de Bourbon, 162
+
+_Arsenal_ MS., 159 _n._
+
+_Artemisia, History of_, 244
+
+Artois, Duc de (afterwards Charles X), marriage, 101, 102;
+  leaves France, 104;
+  at Coblenz, 109, 110
+
+_Ascension, The_, by Jean Fouquet, 192
+
+Ashmolean Collection at Oxford, 241
+
+_Assassination of the Duc de Guise, The_, by Delaroche, 134, 269, 270
+
+_Athena of Lemnos_, famous bronze, 136
+
+Aumale, Duc de (Henri d'Orléans), Lord of Chantilly: _Histoire des
+   Princes de Condé_, 38, 40, 74, 132;
+  military success in Algiers, and marriage, 117;
+  birth of a son, 118;
+  an exile in England and return to Chantilly, 119-123;
+  his scheme to bestow Chantilly on the French nation, 122-124;
+  his second banishment, 124;
+  return and welcome back to Chantilly, 124, 125;
+  equestrian statue of, 125;
+  portraits of, 126, 137, 177 _n._, 220, 273, 276, 277;
+  collects the art treasures of the Musée Condé, 129-153;
+  Victor Hugo's letter, 147;
+  on Raphael's _Three Graces_, 149;
+  French illuminated manuscripts at Chantilly, 154-164;
+  the Cabinet des Livres, 156;
+  _Les Très Riches Heures du Duc de Berry_, 165-178;
+  works of Jean Fouquet, 179-195;
+  Jean Perréal, Bourdichon, and others, 196-210;
+  Jean Clouet, 211-226;
+  François Clouet, 225-247;
+  from Nicholas Poussin to Corot, 248 _et seq._;
+  tomb of, 278
+
+Aumont, Duc de, portrait by Quesnel, 142
+
+Auneau, Victory of, 26
+
+Austria, Elizabeth of, portrait of, 234, 235;
+  miniature of, 243
+
+Austria, Margaret of, and the _Très Riches Heures_, 162, 163;
+  and Jean Fouquet, 181;
+  and Jean Perréal, 209
+
+_Autumn_, by Botticelli, 145
+
+_Avant et après le Combat_, by Protais, 135
+
+Averoldi family, _Ecce Homo_ purchased from, 135
+
+Ayr Collection, portrait of Prince Orlant, 198
+
+
+_Bacchus and Ariadne_, antique sarcophagus, 137
+
+Baccio del Bene, Italian author, 220
+
+_Ball under the Colonnade_, by Watteau, 259
+
+_Balthazar_, a Spanish hound, by Desportes, 255
+
+Bandol, Johannes, painter, 200
+
+Barbançon, Princesse de, by Van Dyck, 132
+
+Barberini, Cardinal, and Quesnoy the sculptor, 249
+
+Barbizon school, 274, 275
+
+Bardon, M., painter, 8
+
+Baroccio, Federigo, painter, 132
+
+Bartolozzi, _Louis Joseph de Bourbon_, 265
+
+Barye, bronzes by, 277
+
+Bassompère, Maréchal de, his marriage, 11
+
+Battave, Godfrey le, his work, 204
+
+Baudrey, P. J. Aimé, allegorical painter, 273
+
+Bavaria, Marie Anne of, portrait of, 138
+
+Béarn, Henri de, and the Protestants, 21
+
+Beaubrun, his portraits of _Comte de Cossé Brissac_, _Mme.
+   and Mlle. de Longueville_, 12, 133;
+  _the Grand Condé_, 251
+
+Beaujeu, Anne de, and Jean Perréal, 207 _n._
+
+Beaujeu, Pierre de, 183
+
+Beauneveu, André, a _Book of Hours_, 177 _n._;
+  _Antiquitates Judæorum_, 182
+
+Bellay, Du, poet, and Marguerite de France, 220, 221
+
+_Belles Heures de Jean de Berry_. See Book of Hours
+
+_Bellièvre_, _Pomponne de_, portrait of, 252
+
+Benedict XIV, Pope, portrait by Subleyras, 142
+
+Berenson, Bernard, _A Sienese Painter of the Franciscan Legend_, 145 _n._
+
+Berghe, Comte de, portrait by Van Dyck, 132
+
+Bernal Sale, 133, 134
+
+Berry, Duc de, _Les Très Riches Heures_, 130, 160, 161, 165 _et seq._;
+  his illuminated manuscripts, 157;
+  portrait of, 201
+
+Berry, Duchesse de, at Chantilly, 91
+
+Bersuire, Pierre, translator of Livy's _Second Decade_, 157
+
+Bethune album, 241
+
+Bethune, Philippe de, portrait by François Quesnel, 246
+
+_Betrayal_, by Jean Fouquet, 191
+
+_Bible Historiée_, 200
+
+_Bible Moralisée_, 179
+
+_Birth of St. John the Baptist_, by Jean Fouquet, 188, 190
+
+Bissolo, _Madonna holding the Infant Christ_, 145
+
+_Boccaccio_ at Munich, 181, 182, 185
+
+Bodleian Library (Oxford), 151
+
+Boileau, N., celebrated French poet, a guest at Chantilly, 75
+
+Boissy, Gouffier de, Battle of Marignan, 6
+
+Boisy, Le Grand Ecuyer de, portrait of, 244
+
+Bonheur, Rosa, _A Shepherd in the Pyrenees_, 135
+
+Bonnat, Léon, portrait of _Duc d'Aumale_, 126, 276
+
+Bonnivet, Gouffier de, Battle of Marignan, 6
+
+Book of Hours:
+  (1) of fourteenth century, owned by François de Guise, 150
+  (2) of Anne de Beaujeu, 198 _n._
+  (3) of Anne de Montmorency, 158
+  (4) of Catherine de Medicis, 215
+  (5) of Étienne Chevalier, miniatures by Jean Fouquet, 152, 181
+  (6) belonging to Maurice de Rothschild, 160
+  (7) _Belles Heures de Jean de Berry_, also called _Heures d'Ailly_,
+   by Limbourg brothers, 179, 184, 185
+  (8) _Heures d'Anjou_, 200
+  (9) _Heures d'Aragon_, by Bourdichon, 198
+  (10) Livres d'Heures, 202
+  (11) _Très Belles Heures_, or _Hours of Turin_, by Hesdin, 165, 177 _n_.
+
+Book of Hours--_Cont._
+  (12) _Très Riches Heures du Duc de Berry_, by the Limbourg brothers,
+   130, 152, 154, 156, 158, 160, 162, 164 _et seq._
+
+Bora, Catherine de, portrait by Pourbus, 142
+
+Bordeaux, Claire-Clemence at, 52, 53;
+  as a Republic, 59, 60;
+  surrenders to the King, 62
+
+Bossuet, Jacq., the famous Prelate, at Chantilly, 83;
+  and the Grand Condé, 86-88;
+  statue of, 89;
+  on Fouquet's _Enthronement of the Virgin_, 194;
+  bust of, 276
+
+Botticelli, Sandro, _Autumn_, 145;
+  _Simonetta Vespucci_, 146;
+  other drawings, 147
+
+Boucault, Jeanne, wife of Jean Clouet, 211, 224;
+  portrait of, 222
+
+Boucher, François, French painter, _Watteau_, 143, 257;
+  cartoon by, 256
+
+Bouchot, Henri, 199, 204, 208, 235
+
+Bouillon, Duchesse, joins the Fronde, 45;
+  portrait of, 242
+
+Bourbon, Anne Marie de, death of, 92
+
+Bourbon, Antoine de (afterwards King of Navarre);
+  portraits of, 16, 136;
+  and the Guises, 18, 20
+
+Bourbon, Caroline Auguste de, marriage to the Duc d'Aumale, 117
+
+Bourbon, Charles de, the famous Constable, death, 16
+
+Bourbon, Duc de. See Bourbon, Louis Henry Joseph;
+  Condé, sixth, seventh, and eighth Princes de
+
+Bourbon, Geneviève. See Longueville, Mme. de
+
+Bourbon, Henri I de. See Condé, second Prince de
+
+Bourbon, Henri II de. See Condé, third Prince de
+
+Bourbon, Henri de, King of Navarre. See Henri IV
+
+Bourbon, Henri Jules de. See Condé, fifth Prince de
+
+Bourbon, Jacob de, 16
+
+Bourbon, Louis I de. See Condé, first Prince de
+
+Bourbon, Louis II de. See Condé, fourth Prince de
+
+Bourbon, Louis Henry Joseph de (Duc d'Enghien, son
+   of eighth Prince de Condé, known as Duc de Bourbon,
+   last of the Condés), birth, 96;
+  early marriage, 97;
+  at Chantilly, 98, 99;
+  separated from his wife, 100;
+  leaves France, 104, 105;
+  return to Chantilly, 111;
+  death of his father, 113;
+  reconciliation with and death of his wife, 113;
+  and his godson, 114;
+  death, 114, 115;
+  portraits of, 114, 266
+
+Bourbon, Louis Joseph de. See Condé, eighth Prince de
+
+Bourdelot, Jean, and the Grand Condé, 84
+
+Bourdichon, a follower of Jean Fouquet, 197, 207;
+  his works, 198, 199
+
+Bourdillon, Lescueur, portrait of, 203
+
+Bourgogne, Antoine de, the _Grand Bâtard_, portraits of, 62, 142
+
+Bouts, Dierick, _Procession_, 146
+
+Braganza, Duc de (afterwards King of Portugal), betrothal, 124;
+  assassination, 124 _n._
+
+Brandenburg, William, Margrave of, guards the Rhine, 82
+
+Brantôme, P. de: Diane de France, 9;
+  Louis de Bourbon, 19;
+  Duc d'Anjou, 24 _n._;
+  the Dauphin, 217;
+  Diane de Poitiers, 231;
+  Henri de Mesmes, 242
+
+"Brasseu," daughter of Diane de Poitiers, a member of _la petite band_, 228;
+  portrait of, 239
+
+Brentano, Herr, purchase and sale
+of forty miniatures by Jean Fouquet, 152, 186
+
+Bretagne, Anne de. See Anne de Bretagne
+
+Bretagne, François, the Duke of, tomb of, 42, 209
+
+_Breviary_, fourteenth century, 150, 151;
+  of Belleville, 160;
+  _Grimani_, sixteenth century, 162, 163, 168
+
+Brézé, Maréchal de, 35
+
+_Briados_, a Spanish hound, by Desportes, 255
+
+Bridgewater _Madonna_, 140
+
+Brignole, Marie Catherine de, the widowed
+   Princess of Monaco, marries eighth Prince de Condé, 109
+
+Brissac, Maréchal, portrait of, 238, 239
+
+British Museum, the _Gallic War_, 157;
+  _Book of Hours_, 186;
+  Salting Collection, 230, 231, 242
+
+Bronzes, 136, 277
+
+Bronzino, Le (Alexander Allori), painter, 132
+
+Broussel, Councillor, and Cardinal Mazarin, 44, 45
+
+Bruges, Jean de, 200 _n._
+
+Bruisbal, Scipion, 240
+
+Brun, Charles Le, Court-painter to Louis XIV, 84;
+  and the Gobelin Factory, 251, 252
+
+Brun, Mme. Vigée Le, her works, 137, 263, 264
+
+Bruyère, La, educates the Condés, 85;
+  and Mme. de Langeron, 87;
+  bust of, 276
+
+Budos, Louis de, death of, 9
+
+Buffant, Jean, once possessor of _Breviary Grimani_, 163
+
+Bugato, Zanetta, 148
+
+Bugenhagen, Jean de, portrait of, 142
+
+Bullant, Jean, architect, 6, 240;
+  altar of Senlis marble, 123
+
+Bussel, a follower of François Clouet, 245
+
+Buti, Catherine, in _La Toussaint_, 194
+
+
+_Cabinet des Livres_ at Chantilly, 156
+
+_Cabotière, La_, 32
+
+Cæsar's Commentaries, 157
+
+Cain, bronzes, 277
+
+_Calendar_ of months in _Book of
+   Hours_, 152, 154, 156, 158, 160, 162,
+   164, 166 _et seq._, 178
+
+_Callirhoé and Corésus_, by Fragonard, 264
+
+Canaletto, Antonio, 147
+
+_Canaples, Mme. de_, portrait of, 244
+
+_Canaples, Sieur de_, portraits of, 223
+
+Cantillius, a Gallo-Roman, origin of name Chantilly, 3
+
+_Capture of Constantinople by the Crusaders_, by Delacroix, 270
+
+_Capture of Jerusalem_, by Poussin, 249
+
+Carlisle, Lord, his collection of French drawings, 151
+
+Carmontelle, M., collection of, 143, 144;
+  portrait of, 144
+
+Carracci, Annibale, paintings in Musée Condé, 84, 132, 135
+
+Carriera, Rosalba, 261
+
+Carron, M., his designs from the _History of Artemisia_, 244
+
+_Castello di S. Angelo_, by Claude, 250
+
+Cellini, Benvenuto, _Apollo guiding the Chariot of the Sun_, 141;
+  _Life of_, by R. H. Cust, 222 _n._
+
+Champaigne, Philippe de, portraits of _Mazarin_ and _Richelieu_, 134;
+  his work, 250
+
+Champion, Jean, 212
+
+Chandus, portrait of, 223
+
+Chantilly, Château of (see also Musée Condé), owners of, 1 _et seq._;
+  origin of name, 3;
+  the Montmorencys, 3-15;
+  improvements and restorations, 5, 66 _et seq._, 89, 90, 92, 118, 119, 121;
+  windows, 5, 8;
+  pictures of, 6, 50;
+  the Petit-Château, 7;
+  its beauty, 9, 10;
+  and the Condés, 16 _et seq._;
+  confiscation and restoration of, 32, 106, 109, 111, 112, 119,
+   121, 124, 125;
+  the Grand Condé, 33-46;
+  portraits, 42, 50;
+  return of Prince and Princesse de Condé, 56;
+  festivities at, 69-77, 90-92, 97, 99;
+  illustrious visitors, 83, 90, 92, 97-99, 118, 121-123;
+  famous waterworks at, 84;
+  pictures, 84;
+  used as a prison, 106, 108;
+  during the French Revolution, 106 _et seq._;
+  races at, 116;
+  Duc d'Aumale, Lord of Chantilly, 116 _et seq._;
+  Musée Condé erected, 122, 123;
+  bequeathed to the nation, 124, 125;
+  Grand Chinoiserie, 259
+
+_Chapeau-Rouge_ party, 61
+
+Chapu, _Jeanne d'Arc_, 276
+
+_Chariot of the Sun_, 167
+
+_Charlemagne, Coronation of_, 182
+
+Charles IV of Germany, portrait of, 201 _n._
+
+Charles V of France, portraits of, 142, 200;
+  his _Inventory_, 159;
+  imprisons the two Dauphins, 217
+
+Charles VII, portraits by Fouquet, 181, 182, 185, 186, 191
+
+Charles VIII, by Perréal, 203, 208
+
+Charles IX and Prince de Condé, 23;
+  death, 24;
+  portraits by François Clouet, 141, 229, 230, 231, 244
+
+Charles X confers the Médaille d'Or on Constable, 274
+
+Charlotte, Elizabeth. See Princess Palatine
+
+Charolais, Count de, at Chantilly, 95, 96
+
+Charonton, Enguerrand, works by, 42, 146, 176, 193
+
+_Charost_, by Quesnel, 142
+
+Chartres, Duc de (afterwards Louis Philippe), portrait by Charles Vernet, 266
+
+Chartres, Duchesse de, portrait by Duplessis, 261
+
+_Chasse au Faucon en Algérie, La_, by Fromentin, 139
+
+_Chasse du Loup_ and _du Renard_, by Oudry, 256
+
+_Château de St. Cloud_, by Daubigny, 275
+
+_Chateaubriand, Monsieur de_, 239
+
+Châteauroux, Castle of, Claire-Clemence exiled to, 73
+
+Châtillon, Mme. de, 50
+
+_Chaudin, capitaine de la porte du Roy_, 239
+
+Chavannes, Puvis de, his works, 269
+
+Chavignard, Lechevallier, cartoon by, 123
+
+_Chess._ See _Game of_
+
+Chevalier, Étienne, _Book of Hours_, executed for, 152, 184;
+  portraits of, 180, 181, 182, 185, 187, 189, 194
+
+Chevreuse, Duchesse de, 55
+
+_Chiaroscuro_, introduction of, 177, 192
+
+Chigi, Prince, collection of, 150
+
+_Children of Israel led into Captivity by King Shalmaneser_, 184
+
+Chinon, Château de, 191
+
+_Christ, Life of_, scenes from, 173
+
+_Christ on the Cross_, miniature, 139
+
+Christina of Denmark, Queen, at Chantilly, 123
+
+Christina of Sweden, Queen, and Claire-Clemence, 54
+
+_Chronique de France_, 181, 182
+
+Cicero's _Rhetorics_, 157
+
+Cigongue, Armand, collection of, 130
+
+_Cité de Dieu_, 157
+
+Claire-Clemence (wife of the Grand Condé),
+   early marriage and excellent qualities of, 34;
+  retires to a convent, 35;
+  with her son at Chantilly, 41;
+  sudden departure, 45;
+  her husband's imprisonment, 49;
+  her escape, 51;
+  at Bordeaux, 52, 53, 59, 60;
+  obtains her husband's freedom, 54, 55;
+  entry into Paris, 56;
+  retirement to Saint-Maur, 57;
+  birth of second son, 61;
+  retires to Flanders, 62;
+  return to France, 64, 75;
+  and her son's marriage, 69;
+  ill-health, 70;
+  and the page Duval, 71;
+  her husband's ill-treatment, 71, 72;
+  exile and death, 73, 74
+
+Claridge, Robert, and the Condés, 266
+
+Claude, Queen (wife of Francis I), portraits of, 216, 217, 218, 239
+
+_Clementia_, 184
+
+Clermont, Louise de, portrait of, 228, 255
+
+Clève, Marie de, marriage, 22;
+  and Charles IX, 23;
+  death, 24
+
+Clève, Philippe de, portrait by Holbein, 142
+
+Clouet, François, his works, 8, 20, 22,
+   26, 141, 151, 205, 208, 214, 215, 219, 223, 226-243, 246;
+  succeeds his father as Court-painter to François I, 225, 226;
+  his style of work, 227, 234, 238, 247;
+  death, 243
+
+Clouet, Jean, painter to the Duke of Burgundy, 211
+
+Clouet of Tours, Jean (son of above), court-painter to Francis I,
+   151, 204-208;
+  medal of, 210;
+  marriage, 211;
+  his methods and works, 212-226, 228, 242;
+  death, 227
+
+Clouet of Navarre (son of above), 211
+
+Clovio, Giulio, _Christ on the Cross_, 139
+
+_Coche de Marguerite, de la_, manuscript, 158
+
+Codex with Fouquet's miniatures, 182-184
+
+Colbert, pastel of, 142;
+  and Le Brun, 251
+
+Coligny, Admiral de, portrait of, 141
+
+Coligny, Dandelot de, 42
+
+Coligny, Gaspard, on the death of Francis II, 19;
+  and the Condés, 21;
+  death, 23
+
+Coligny, Odet de, a Cardinal, portrait of, 133, 236;
+  history of, 237
+
+Colnaghi, Messrs., sell portraits and pictures to Duc d'Aumale, 133, 138
+
+Colombe, Jean de, works of, 162, 171, 178, 197
+
+Colombe, Michel, 209
+
+_Colonel Lepic à Eylau_, by Détaille, 152
+
+_Comptes de Lyon_, by Perréal, 207
+
+_Concert Champêtre_, by Corot, 152, 275, 276
+
+Conches Collection, 186
+
+Condé family, the, 4, 16 _et seq._
+
+Condé, first Prince de (Louis de Bourbon), 16;
+  religion and marriage, 17;
+  imprisonment, 17, 18;
+  release, 19;
+  infidelities, 19;
+  death, 20;
+  portraits of, 18, 136
+
+Condé, second Prince de (Henri I de Bourbon), portrait of, 18;
+  and Mlle. de Saint-André, 19;
+  and his mother, 20;
+  succeeds his father, 21;
+  marriage, 22;
+  and the Protestant faith, 23, 24;
+  death of his wife, 24;
+  second marriage, 24, 25;
+  the War of the Four Henris, 25, 26;
+  becomes heir-presumptive, 27;
+  death, 28
+
+Condé, third Prince de (Henri II de Bourbon), portrait of, 12;
+  marriage and its result, 12-15, 30;
+  imprisonment, 31;
+  and Louis XIII, 32;
+  death, 43;
+  bronze monument of, 123
+
+Condé, fourth Prince de (Louis II de Bourbon, Duc d'Enghien,
+   the "Grand Condé"), baptism and education, 33;
+  early marriage, 34;
+  life in Burgundy, 35, 36;
+  elected general, 37;
+  victor of Rocroy, Thionville, and Nordlingen, 38-41;
+  illness, 41;
+  influence of women on, 42;
+  death of his father, 43;
+  victor of Lens, 43, 44;
+  reception by the King, 44;
+  puts down the Fronde, 45;
+  Mazarin an implacable enemy, 47 _et seq._;
+  imprisoned at Vincennes, 48, 49;
+  removed to Havre, 54;
+  his wife obtains his freedom, 55, 56;
+  betrayed by his enemies, 57;
+  his faults, 57;
+  retires to Montroux, 58;
+  alliance with Spain, 59 _et seq._;
+  entry into and retreat from Paris, 60;
+  financial difficulties, 61, 62;
+  a lost battle, 63;
+  returns to France, 64;
+  his regrets, 65;
+  retires to Chantilly, 66;
+  improvements at Chantilly, 66, 67;
+  refuses Crown of Poland, 69;
+  cruel treatment to his wife, 70-73;
+  her death, 73;
+  illustrious visitors and festivities at Chantilly, 75-77, 83;
+  war with Holland, 78 _et seq._;
+  wounded, 81;
+  return to Chantilly and death, 83;
+  interest in scientific discoveries and passion for the chase, 84;
+  protects the Huguenots, 85;
+  and his grandson, 85;
+  a free-thinker, 87;
+  his death, 88;
+  statues of, 89, 276;
+  portraits of, 251;
+  bust of, 277
+
+Condé, fifth Prince de (Henri Jules de Bourbon, Duc d'Albret, Duc d'Enghien),
+   son of the Grand Condé, 41;
+  escapes with his mother, 50, 51;
+  educated by Jesuits, 62;
+  Louis XIV's entry into Paris, 65;
+  at Chantilly, 67;
+  marriage, 69;
+  sad interview with his mother, 73;
+  his mother's death, 73;
+  his father wounded, 81;
+  character, 81, 85, 90;
+  death of his father, 87;
+  succeeds and carries out his father's improvements at Chantilly, 89;
+  violent temper and death, 90
+
+Condé, sixth Prince de (Louis III, Duc de Bourbon),
+   early marriage and education, 85, 86;
+  death, 91
+
+Condé, seventh Prince de (Louis Henri, Duc de Bourbon), early succession, 91;
+  improvements and illustrious visitors at Chantilly, 91, 95;
+  Prime Minister of France, 92;
+  death of his wife, 92;
+  and the Marquise de Prie, 92-94;
+  resignation, 94;
+  second marriage, 94, 95;
+  death, 95
+
+Condé, eighth Prince de (Louis Joseph), condemns the Grand
+   Condé's treatment of his wife, 74;
+  early succession, 95;
+  marriage and birth of a son, 96;
+  gained victories of Grinningen and Johannesberg, 97;
+  death of his wife, 97;
+  illustrious visitors at Chantilly, 98-104;
+  leaves France owing to Revolution, 104;
+  at Worms, 109;
+  retires to Wanstead House, Wimbledon, 109;
+  second marriage, 109;
+  returns to Chantilly, 111;
+  restores Chantilly, 111, 112;
+  death, 113;
+  and Jean Baptiste Huet, 260;
+  and Fragonard, 264;
+  portrait of, 265
+
+Condé, ninth Prince de. See Bourbon, Louis Henri Joseph, Duc de
+
+Condé, Henriette de Bourbon (Mme. de Vermandois), Abbess, 100
+
+_Condé, Histoire des Princes de_, by Duc d'Aumale, 38, 74
+
+Condé, Louise de (daughter of eighth Prince de Condé), birth, 96;
+  life at Chantilly, 100, 101;
+  and the Marquis de Gervaisais, 102, 103;
+  the French Revolution, 104;
+  retires to a convent, 109;
+  tragic death of Duc d'Enghien, 109, 110;
+  reception in England, 110;
+  death, 115
+
+Condé, Mme. la Princesse Douarière de, 35
+
+Condé, Musée, erection of, 122, 123;
+  bequeathed to the French nation, 124, 125;
+  art treasures of, and how they were brought together, 129 _et seq._;
+  French illuminated manuscripts at, 154-164;
+  _Les Très Riches Heures du Duc de Berry_, 165-178;
+  works of Jean Fouquet of Tours, 179-195;
+  of Jean Perréal and Bourdichon, 196-210;
+  of Jean Clouet, 211-226;
+  of François Clouet, 227-248;
+  _Catalogue Raisonnée_ of, 247;
+  works of painters from Nicolas Poussin to Corot, 248-278
+
+_Condé, Sur la femme du Grand_, 34
+
+_Confession of St. Peter_, 189
+
+Constable, John, effect of his work on French painters, 273, 274
+
+_Constantine, Emperor_, medal of, 175
+
+Conti, Prince de, brother of the Grand Condé, 48;
+  illness, 49;
+  at Bordeaux, 60, 61;
+  and Mazarin, 64
+
+Conti, François, Prince, nephew of the Grand Condé, 85
+
+Conti, Louise Henriette de Bourbon, portrait by Nattier, 254
+
+Corneille de Lyon, his works, 26, 141, 147, 218, 231, 242, 244
+
+Corneille, Pierre, the Poet at Chantilly, 75, 83
+
+_Coronation of Charlemagne_, by Fouquet, 82
+
+_Coronation of the Virgin, the._ See _Virgin_
+
+Corot, Jean B. C., _Le Concert Champêtre_, 152, 274, 275, 276
+
+Cosimo, Piero di, _Simonetta Vespucci_, 146
+
+Coste, Jean de, the Château de Vaudreuil, 200
+
+Court, Jean de, Court-painter to Henri III, 244
+
+Courtils de Merlemont, M. des, Knight of St. Louis,
+   imprisoned at Chantilly, 106
+
+Coutras, Battle of, 26
+
+Cowley, Lord, occupies Chantilly, 119
+
+Coysevox, statue of the _Grand Condé_, 276
+
+_Crépuscule en Sologne, Le_, by Rousseau, 275
+
+Croix, Mlle. de la, 35
+
+Crozat, M., the financier and collector, owned the Orleans _Madonna_, 140;
+  and Watteau, 259
+
+_Crucifixion, The_, in _Les Très Riches Heures_, 177, 192
+
+_Cuirassiers, Les_, by Meissonier, 152, 272
+
+_Cupid and Psyche_, in windows at Chantilly, 5
+
+Cust, H. Hobart, _The Life of Benvenuto Cellini_, 222 _n._
+
+Cust, Lionel, _History of Art in England_, 201
+
+Czartoysky, Prince Ladislas, marriage, 121
+
+
+Damartin, Guy de, architect, 166
+
+_Dance of Angels_, 135
+
+Danloux, M.;
+  portraits by, 114, 266
+
+Danté's _Inferno_ with _Commentary_ by Guido of Pisa, 157
+
+_Daphne flying to her father's protection_, by Poussin, 250
+
+Daumet, M., rebuilds the _Grand Château_, 122
+
+Dauphin, the Grand (only son of Louis XIV.), at Chantilly, 90;
+  portraits of, 138, 217
+
+Dauphin François, portraits of, 212, 217, 218, 220, 239, 244
+
+Dauphin Louis (son of Louis XVI), portrait of, 264
+
+David, Jacques Louis, and Prud'hon, 267;
+  his works, 269
+
+Dawes, Sophie, known as Baronne de Feuchères, 115
+
+_Death of Germanicus, The_, by Poussin, 249
+
+_Déjeuner d'Huîtres_, by de Troy, 134, 259
+
+_Déjeuner de Jambon_, by Lancret, 134, 259
+
+Delacroix, Eugène, his works, 141, 270, 271
+
+Delaroche, Paul, his works, 134, 269, 270
+
+Delessert Sale, 139
+
+Deligand Collection, 228 _n._, 239
+
+Delisle, Count Leopold, 161
+
+Delormes, Philibert, 240
+
+Denmark and Louis XIV, 81
+
+Derbais, M., his works, 277
+
+Descamps, Jean Baptiste, painter, works of, 134, 139, 271
+
+Descartes, René, and the Grand Condé, 87
+
+_Descent from the Cross_, by Fouquet, 192, 193
+
+_Descent of the Holy Ghost_, by Fouquet, 193
+
+Desportes, P., poet, his works, 132, 255, 256;
+  and Jean de Court, 244
+
+Detaille, Jean Baptiste, his works, 272, 273, 274
+
+Détaille, M., his finest work, 152;
+  album, 241
+
+_Devançay, Mme. de_, by Ingres, 147
+
+Diane de France. See Angoulême, Duchesse de
+
+Diane de Poitiers. See Poitiers
+
+Diaz de la Pena, works of, 275, 276
+
+Diderot, M., on Greuze, 261;
+  on David, 269
+
+Dimier, L., 204;
+  _Bulletin de la Société Nationale des Antiquaires de France_, 240 _n._
+
+Dinier, Louis, _Les Portraits peints de François I_, 151 _n._
+
+_Diodorus Siculus_, translation of, 158
+
+Disraeli, Benjamin, in praise of Duc d'Aumale, 131
+
+_Distribution des Aigles, La_, by David, 269
+
+_Divina Commedia_, by Dante, 194
+
+Domenichino, Domenico, and Poussin, 249
+
+Donato, San, Sale, 139
+
+_Donneur des Sérénades, La_, by Watteau, 258
+
+Dourdan, Castle of, in _Les Très Riches Heures_, 168
+
+_Dragons sous Louis XV, Les_, 138
+
+_Dream of a Knight, The_, by Raphael, 148
+
+Drouais, M., portraits by, 142, 263
+
+Duban, M., architect, 118, 122
+
+Dubois, P., a follower of François Clouet, 245;
+  statue of the _Grand Montmorency_, 276;
+  bust and tomb of _Duc d'Aumale_, 277, 278
+
+Duccio's famous altar-piece at Siena, 193 _n._
+
+Dûchatel, Comte, at Chantilly, 119
+
+_Duclos, Mlle._, portrait of, 254
+
+Dudley, Earl of, owner at one time of _The Three Graces_, 148, 149
+
+_Duel après le Bal, Le_, by Gérome, 135
+
+Duff-Gordon-Duff Collection, 144
+
+Dugardin, the goldsmith, frames the miniature of _Elizabeth of Austria_, 243
+
+Dughet, Gaspar, works by, 133, 146, 250
+
+Dumoustier, M., works by, 42, 143, 147, 151, 245, 246
+
+_Dunes at Scheveningen_, by Ruysdael, 139
+
+Duplessis, M., administrator of the galleries at Versailles, 261
+
+Dupré, M., works by, 275
+
+Duras, Duchesse de, a prisoner at Chantilly, 107
+
+Dürer, Albert, celebrated artist, _Virgin_, 131
+
+Durrieu, Comte Paul, 148;
+  and the _Très Riches Heures_, 161, 163;
+  made reproduction of _Hours of Turin_, 165;
+  and the medal of _Emperor Constantine_, 175;
+  and the Fouquet miniatures, 182;
+  and the _MS. de Saint Michel_, 202
+
+
+_Eaux Douces d'Asie, Les_, by Diaz, 276
+
+_Ecce Homo_, by Titian, 135
+
+Edward III, portrait of, 201 _n_.
+
+Edward VII, visits Chantilly when Prince of Wales, 122;
+  presentation of Fouquet's miniatures to President Fallières, 184
+
+_Elboeuf, Mme. de_, by Corneille, 244
+
+_Eleonore, Queen_, portrait of, 133
+
+_Elizabeth of Austria_, portraits of, 133, 234
+
+Enghien, Duc de (see also Bourbon, Louis Henri Joseph),
+   son of Louis Henri, Duc de Bourbon, 103;
+  the French Revolution, 104, 105;
+  execution by Napoleon, 110;
+  portrait of, 264
+
+_Enthronement of the Virgin_, by Fouquet, 193, 194
+
+Epéron, Duc de, the hated Governor of Bordeaux, 52
+
+Erasmus, portrait of, 204
+
+Estampes, Château de, in the _Calendar_ of Months, 170
+
+Estampes, Duchesse de (mistress of Francis I), intrigues of, 6
+
+Este, Cardinal Ippolito de, 222
+
+_Esther as Queen, walking in her garden_,
+   in the Lichtenstein Gallery at Vienna, 150, 151
+
+_Estrange, Madame le_, portrait by Clouet of, 223, 224
+
+Estrées, Gabrielle de (mistress of Henri IV), portraits of, 136,
+   142, 246, 247
+
+Eugenius IV, Pope, portrait of, 180
+
+_Eve and the Apple_, in _Les Très Riches Heures_, 173
+
+Everdingen, the master of Ruysdael, 146
+
+Evreux, Jeanne de (wife of Charles IV), _Breviary_ executed for, 151, 160
+
+Eyck, Hubert Van, works by, 146, 165 _n._
+
+
+_Fables de Marie de France, Les_, 130
+
+Fabre Collection, 149
+
+Fagon, Dr. (physician to Louis XIV), portraits of, 248
+
+_Fall of the Rebel Angels_, 175, 176
+
+Fallières, President, presentation of the Fouquet MSS. to, 184
+
+Faure Sale, 141
+
+Fel, Marie, opera singer, pastel of, 260
+
+Fénélon, François, at Chantilly, 83
+
+Ferdinand III, Emperor, Peace of Westphalia, 44
+
+_Fermes en Normandie_, by Rousseau, 275
+
+Ferrara, Ercole, Duc de, marriage, 221
+
+Ferrara, Duchesse de. See Rénée de France
+
+Filarete, _Treatise on Architecture_, 180
+
+Flanders, invaded by Louis XIV, 78
+
+Fleuranges, Maréchal de, portrait of, 205
+
+Fleury, Cardinal, and the Marquise de Prie, 94
+
+Fleury, Robert, works by, 138
+
+Foix, Odet de, portraits of, 205, 208
+
+Fontaine, La, at Chantilly, 75;
+  designs executed in tapestry from his _Fables_, 256
+
+_Foscari, The Two_, by Delacroix, 141, 270, 271
+
+Foulon, Benjamin, and the Lecurieur album, 235
+
+Fouquet of Tours, Jean (Court-painter to Louis XI), his works, 152,
+   153, 155, 156, 179-195, 202, 207 _n._;
+  early history of, 180
+
+_Four Evangelists_, 173
+
+Fragonard, J. Honoré, painter, his works, 264, 265
+
+_France, Chronique de._ See Chronique
+
+France, Diane de. See Angoulême, Duchesse de
+
+France, Henriette de, portrait of, 245
+
+_France, Histoire litteraire de la_, 157
+
+_France, History of the Kings of_, 251, 252
+
+France, Jeanne de (Queen of Navarre, daughter of Charles VII), 148;
+  _Book of Hours_ designed for, 160
+
+_France, Les Fables de Marie de_, 130
+
+France, Margot de (daughter of Catherine de Medicis), engagement, 22;
+  portraits of, 233, 234, 238;
+  marriage, 243
+
+France, Marguerite de (sister of Henri II), portraits of, 141, 218, 244;
+  history of, 218-221;
+  marriage, 219
+
+France, Mme. Adelaide de, portrait of, 260
+
+France, Rénée de. See Rénée
+
+France, war with Spain, 38 _et seq._;
+  the Fronde rising, 44, 45;
+  civil war, 55, 59;
+  Peace of the Pyrenees, 64;
+  invasion of Holland, 78-82;
+  Revolution, 104, 105;
+  gift of Musée Condé to the nation, 124
+
+Francia, his _Annunciation_, 145
+
+Francis I (formerly Duc d'Angoulême), Battle of Marignan, 6;
+  jealous of Anne de Montmorency, 6;
+  portraits of, 138, 141, 151, 158, 204, 206, 207, 213-215, 216, 228, 241;
+  and Jean Perréal, 205;
+  his daughter Marguerite de France, 220;
+  Princesse Jeanne, 224
+
+Francis II, imprisonment of Louis de Bourbon-Condé, 17, 18;
+  illness, 18;
+  death, 19;
+  portraits of, 20, 229, 232
+
+Fremiet, M., bronze by, 277
+
+Fresnes, Comte de, 150
+
+Frizzoni, Dr. G., 146
+
+Froissart, Jean, French poet, manuscript, 143;
+  description of the castle of Mehun-sur-Yevre, 177
+
+Fromentin, Eugène (a celebrated writer and painter), his works, 139, 271, 272
+
+Fronde, outbreak of the, 44, 45
+
+Fry, Roger, and the _Maître de Moulins_, 199
+
+
+Gaignière, Robert, collection of French drawings, 141, 151, 156;
+  his _Receuils_, 185, 188, 201;
+  discovers portrait of _Jean le Bon_, 200;
+  miniatures, 207;
+  portraits, 208, 218, 245
+
+_Gallic War_, manuscript history of, 157, 204, 206
+
+_Game of Chess, A_, by Carmontelle, 144
+
+Gardiner, Mrs. John, owner of _The Virgin and the Holy Child_, 150
+
+Gautier, Leonard, _Cupid and Psyche_, 6;
+  _Kings of France_, 215
+
+_Gazette des Beaux Arts_, 172, 198, 203 _n_.
+
+_Genealogy of the Blessed Virgin_, a _Mariensippe_, 186
+
+George I, portrait of, 142
+
+_Georgette_, by Greuze, 262
+
+Gerard, François (styled "the painter of Kings" and "King
+   of Painters"), _Queen Marie Amélie_, 137;
+  _Napoleon_, 146, 268
+
+Gericault, M., 147;
+  a pioneer of Romanticism, 270
+
+Gérome, M., _Le Duel après le Bal_, 135
+
+Gervaisais, Marquis de, and Princess Louise de Condé, 102, 103
+
+Ghirlandajo frescoes, 190
+
+Gillott, Claude, earliest creator of the Watteau style, 258, 259
+
+Giorgione, M., _The Woman taken in Adultery_, 135
+
+Giotto's _Death of the Virgin_, 145
+
+Giovanni del Ponte di San Stefano, _The Coronation of the Virgin_, 145
+
+Gobelins tapestry, the, 132, 251, 256
+
+Goes, Ugo Van der, the _Grand Bâtard_, 142
+
+Goldschmidt, Leopold, 149, 150
+
+Gondi, Albert de, portrait of, 235
+
+Gondi, Henri, Archdeacon of Paris, portrait of, 245
+
+Gondi, Paul (subsequently known as Cardinal Retz), Archbishop
+   of Paris and the Fronde rising, 44;
+  and the Queen Regent, 56, 57
+
+Gonzague, Princesse Anne de (known as Princesse Palatine),
+   and the Grand Condé, 42, 43, 54, 70;
+  at Chantilly, 75;
+  a free-thinker, 87;
+  death, 87
+
+Gonzague, Princesse Louise Marie de (afterwards Queen of Poland),
+   and the Grand Condé, 42, 43, 54;
+  and the Crown of Poland, 69;
+  a free-thinker, 87
+
+Gouffier, Artur and Guillaume, portraits of, 205
+
+Goujon, Jean, the altar of Senlis marble, 123;
+  his altar reliefs, 277
+
+Gourdel, Pierre, a follower of François Clouet, 245
+
+_Graces, The Three_, by Raphael, 148, 149, 187
+
+Grammont, Duchesse de, on the death of Henri de Bourbon-Condé, 28
+
+Grammont, Maréchal de, at Chantilly, 75
+
+_Grenadiers à Cheval à Eylau, Les_, by Detaille, 272, 274
+
+Greuze, J. B. (French painter), his style and works, 139, 261-263, 267
+
+_Grimani._ See Breviary
+
+Grinningen, victory of, 97
+
+Gros, Antoine Jean, Baron, painter, 139
+
+Gruyer, M. F., a _Catalogue Raisonnée_ of the Musée Condé, 144, 247;
+  on _Les Très Riches Heures_, 160;
+  his works, 251
+
+Guercino, works of, 84, 132
+
+Guido of Pisa, _Commentary_, 157
+
+Guido Reni, a celebrated Italian painter, 132
+
+Guifard, M., 9
+
+Guise, Duc de (son of Duc d'Aumale), at Chantilly, 120, 121;
+  death, 122;
+  portrait by Clouet, 214
+
+Guise, Duc de (le Balafré), miniature of, 138
+
+Guise, Duc Claude de, portrait of, 213
+
+Guise, Henri, Duc de, the War of the Four Henris, 25, 26;
+  death, 26, 27;
+  _Assassination_ of, by Delaroche, 134, 269, 270;
+  portrait by Dumoustier, 245, 246
+
+Guises of Lorraine, the, 17
+
+_Guitar Player, The_, by Watteau, 258
+
+
+Hagford album, in Salting Bequest, 242
+
+Hainau, Count, 165 _n._
+
+"Hameau," a, at Chantilly, 98
+
+Hamilton Palace Sale, 147, 150
+
+Haros, Louis de (minister of Philip IV), Peace of the Pyrenees, 64;
+  portrait of, 143
+
+Hauteville, Elizabeth de (afterwards
+Comtesse de Beauvais), marries Cardinal Coligny, 237
+
+Hawking, art revived by the Grand Condé, 84
+
+_Hay Wain, The_, by Constable, 273
+
+"Hegli," 6
+
+Heidelberg, Capture of, 82
+
+Henri I de Bourbon. See Condé, second Prince de
+
+Henri II creates Anne de Montmorency a Duke, 8;
+  portraits of, 26, 133, 151, 236
+
+Henri II de Bourbon. See Condé, third Prince de
+
+Henri III (formerly Duc d'Anjou), admiration for Marie de Clève, 22, 24;
+  and the Huguenots, 23;
+  battle at Coutras, 26;
+  assassination of, 27;
+  portraits of, 133, 141, 244
+
+Henri IV (Henri de Bourbon, King of Navarre), admiration for Charlotte
+   de Montmorency of Chantilly, 10, 11, 28;
+  murder of, 15;
+  marriage, 22, and the Protestant faith, 23, 24;
+  War of the Four Henris, 25, 26;
+  succeeds to the throne, 27;
+  portraits of, 138, 142, 277
+
+Henri, Duc de Guise. See Guise
+
+Henri of Navarre. See Henri IV
+
+Herbert of Cherbury, Lord, his _Memoirs_, 9
+
+Hery, Claude de, 242
+
+Hesdin, Jaquemart de, executes _Très Belles Heures_, 165, 177 _n._
+
+Heseltine Collection, 207 _n._, 214 _n._
+
+Heures d'Ailly. See Book of Hours
+
+Heures d'Anjou. See Book of Hours
+
+Heures d'Aragon. See Book of Hours
+
+Heuzey, Léon, on date of _Minerva_, 136
+
+_Histoire des Princes de Condé_, by Duc d'Aumale, 38, 74
+
+_Histoire litteraire de la France_, 157
+
+_History of Art in England_, 201 _n._
+
+Hoe, Robert, sale of his collection, 198 _n._
+
+Holbein, Jean, portrait by, 131;
+  _Jean de Bugenhagen_, 142;
+  the Hagford Collection, 242
+
+Holland submerged to stay the French advance, 79
+
+Holland, Lord, presents _Talleyrand's_ portrait to Duc d'Aumale, 138
+
+_Holy Family_, by Jacopo Palma, 145
+
+_Hommes Illustres_, Thevet's, 212, 215
+
+Hôpital, Michael de le, resignation of, 20
+
+Hortense, Queen, owner of Chantilly, 109
+
+_Hours of Anne de Beaujeu._ See Book of Hours
+
+_Hours of Turin._ See Book of Hours
+
+Howard Collection, 151, 152, 242
+
+Huet, Christophe, works by, 132;
+  designer and decorator of the _Grande Chinoiserie_ at Chantilly, 259, 260
+
+Huet, Jean Baptiste (son of above), painter, 260
+
+Hugo, Victor, his letter to the Duc d'Aumale, 147, 148
+
+Huguenots, Prince de Condé one of their leaders, 17;
+  religious wars, 20, 21, 23-26;
+  protected by the Grand Condé, 85
+
+Hulin, M., 199
+
+_Huntsman with his dog and bag of game_, by Desporte, 256
+
+_Husband and Wife_, 146
+
+
+_Infancy of Bacchus_, by Poussin, 135, 249
+
+_Inferno_, Dante's, 157
+
+_Ingeburge, Psalter of Queen_, 158, 159
+
+Ingres, Jean D. A., works by, 133, 135, 147;
+  his pupil David, 269
+_Inventory_ of Charles V, 159;
+  of the Palais de Tournelle, 241
+
+Isabella, Archduchess, and the Princesse de Condé, 14, 15
+
+Italian enamel, 141
+
+Italian manuscripts, 138
+
+
+James V of Scotland, marriage, 218
+
+Jarnac, Battle of, 20
+
+Jean II, Baron de Montmorency, 4
+
+Jean le Bon (father of Charles V of France), portrait of, 200
+
+_Jeanne d'Arc_, by Chapu, 276
+
+_Joconde, La_, Reiset Collection, 131
+
+Johannesberg, Grand Condé's victory at, 97
+
+Jones Collection in Victoria and Albert Museum, 232
+
+_Joseph and Potiphar's Wife_, by Prud'hon, 258, 267
+
+_Josephine_, portrait by Prud'hon, 267
+
+Josephus, _Antiquitates Judæorum_ of, 155, 181, 182, 185, 189, 200
+
+Jott, Madame de, portrait by, 104
+
+Joyeuse, Duc de, battle of Coutras, 26
+
+_Jupiter_, a bronze, 136
+
+Just de Tournon. See Tournon
+
+_Juvenal des Ursins_, portrait of, 181
+
+
+Kahn, Rudolph, presented _Madame d'Elboeuf_ to the Louvre, 244
+
+Kaiser Friedrich Collection at Berlin, 185
+
+_King Ahasuerus and Esther_, 149
+
+_Kings of France._ See Gautier
+
+
+Laborde, Comte de, his discoveries, 197
+
+Laborde, Jean de, _Songs_ of, 130;
+  _La Renaissance_ and _Comptes des Bâtiments_, 212 _n._
+
+Labruyère, Jean de, statue of, 89
+
+Lagneau Brothers, their work, 245
+
+Lami, Eugène (painter), his work, 118
+
+_Lansac, Madame de_, portrait by Corneille, 141
+
+Lancret, Nicolas, his _Déjeuner de Jambon_, 134, 259
+
+Langeais, Châteaux of, bequeathed to the French nation, 7
+
+Langeron, Mme. de, hostess at Chantilly, 87
+
+Largillière, Nicolas, his works, 133, 254
+
+_Last Judgment_, by Signorelli, 131
+
+Latour, Maurice Quentin de (painter), his works, 260
+
+Lawrence, Sir Thomas, 149
+
+Leclerc, Nicolas, sculptor, 210
+
+Lecomte, Sauveur, painter of the Grand Condé's famous deeds, 39, 68, 90
+
+Lecurieur Album, the famous, 235
+
+Leczinska of Poland, Maria, marriage with Louis XV, 93;
+  at Chantilly, 95
+
+_Legenda Aurea_ of Jacopo da Voragine, the property of
+   Charles V of France, 158, 188, 193
+
+Lenet accomplishes with Claire-Clemence the release of
+   the Grande Condé, 49, 50, 52, 54;
+  at Bordeaux, 61;
+  financial difficulties of the Grand Condé, 62, 63
+
+Lenoir, Alexander, a faithful guardian of French treasures
+   during French Revolution, 112, 141
+
+Lens, Battle of, 43
+
+_Lepic à Eylau, Le Colonel_, by Détaille, 152
+
+Leprieur, M., _Gazette des Beaux Arts_, 198 _n._
+
+Lestrange, Madame, portrait by Clouet, 223, 224
+
+Leyden, Lucas van, _The Return of the Prodigal Son_, 131
+
+Lichtenstein Gallery at Vienna, 150, 181
+
+Ligny, Comte, portraits by Perréal, 202, 203
+
+Lille made a French town, 78
+
+Limbourg, Pol, and his brothers, miniatures by, 153, 155, 172;
+  illuminated manuscripts by, 162;
+  _Très Riches Heures_, 152, 154, 156, 158, 160, 162, 164-179, 192, 193;
+  _Belles Heures_, 184
+
+Limeuil, Isabelle de, and the Grand Condé, 19
+
+Limoges enamel, portraits in, 136
+
+Limousin, M., painter, 215;
+  enamel portraits by, 277
+
+Lippi, Filippo, his works at Chantilly, 145;
+  Filippino, 149
+
+_Liselotte as a Maid_, by Largillière, 254
+
+_Livres d'Heures._ See Book of Hours
+
+Livy's _Second Decade_ translated by Pierre Bersuire, 157
+
+Lochis Collection at Bergamo, 223
+
+Longhi, Luca (painter), 132
+
+Longueville, Duc de, and Grand Condé's arrest, 48;
+  death, 64
+
+Longueville, Duc de (son of above), death 80
+
+Longueville, Duchesse de (formerly Geneviève de Bourbon),
+   portraits of, 12, 133, 251;
+  birth, 31;
+  beautiful but vain, 34;
+  and Claire-Clemence, 34, 35, 73;
+  joins the Fronde, 45;
+  escape from Mazarin, 49;
+  at Saint-Maur, 57;
+  wins over her brother the Grand Condé to ally himself with Spain, 58;
+  at Bordeaux, 61, 62;
+  retires to a convent on death of her husband, 64;
+  her son's death, 81;
+  becomes a pious Jansenite, 87
+
+Loo, Van, portraits by, 133, 147
+
+Lorraine, Cardinal de, and Queen Mary Stuart, 21 _n._
+
+Lorraine, Catherine de, portrait of, 136
+
+Lorraine, Claude, his wonderful atmospheric effects, 250
+
+Louis II of Anjou, King of Sicily, portrait of, 201
+
+Louis XI, portrait as founder of the Order of St. Michael, 181;
+  as one of the Magi, 191
+
+Louis XII, portraits of, 203, 207-210;
+  appoints Jean Perréal Court-painter, 205;
+  _Tournois_ tapestry, 208;
+  medal of, 210
+
+_Louis XII, Lettres de_, by Just de Tournon, 205
+
+Louis XIII regrets his cruelty to the Condé family, 32;
+  and Richelieu, 37;
+  last words and death, 39;
+  portraits of, 143, 245
+
+Louis XIV and Isabelle de Montmorency, 42;
+  reception of the Grand Condé, 44, 64, 66;
+  the Fronde rising, 45;
+  proclaimed King, 57;
+  recovers Paris, 60;
+  entry into Paris, 65;
+  refuses a _lettre de cachet_ against Claire-Clemence, 71;
+  at Fontainebleau, 75;
+  and Mme. de Montespan, 75;
+  at Chantilly, 76, 77;
+  war with Holland and Spain, 78-82;
+  portrait of, 134;
+  and the Gaignières bequest, 156;
+  appoints Charles Le Brun Court-painter, 252;
+  death, 257
+
+Louis XV at Chantilly, 92, 95;
+  intrigues of Mme. de Prie, 93, 94;
+  and the Duchesse de Bourbon, 95;
+  and the _pacte de famine_, 101;
+  portrait of, 261
+
+Louis XVI and the French Revolution, 104, 105, 107;
+  portrait of, 261
+
+Louis Bordeaux (son of the Grand Condé), rejoicings at his birth, 61;
+  early death, 62
+
+Louis Philippe. See Orléans, Duc de
+
+_Lucifer_, 175
+
+Luignes, Duc de, his _Mémoires_, 95
+
+Luini, Bernardino, his paintings at Chantilly, 145
+
+Lusignan, Fortress in the _Calendar_ of Months, 168
+
+Lustrac, Marguerite de, and Louis de Bourbon, 19
+
+
+McCall, Colonel, administers the estate of Chantilly, 119
+
+_Madonna_, by Sassoferrata, 133;
+  the Maison d'Orléans, by Raphael, 140, 187;
+  the Bridgewater, 140;
+  by Bissolo, 145;
+  by Fouquet, 181, 185;
+  by Bourdichon, 198;
+  by Mignard, 252
+
+_Magdalen_, portrait by Mignard, 198
+
+_Magi._ See Adoration and Procession of
+
+_Maison de Sylvie_, 32
+
+Maison, Marquis, collection of, 139
+
+_Maître de Moulins_, 199
+
+Malatesta. See Paolo
+
+Malebranche, Nicolas, philosopher and theologian, 83
+
+_Malediction Paternelle_, by Greuze, 262
+
+Malonel, M., Court-painter to the Duke of Burgundy, 173
+
+_Man and Woman, A_, 131
+
+_Man with a Glass of Wine_, by Fouquet, 181
+
+Mangin, Jean, _Cupid and Psyche_, 6
+
+Mannheim, Capture of, 82
+
+_Mannier, Les le_, by G. Moreau Nélaton, 229
+
+Manuscripts, French illuminated, 154 _et seq._, 204
+
+Marchand, insults the Duchesse de Duras, 107
+
+Marck, Robert de la, portrait of, 235
+
+Margot de France. See France, Margot de
+
+Marguerite, Princesse (daughter of Duc de Nemours), marriage, 121;
+  portrait of, 226
+
+Marie Amélie, Princesse (daughter of Comte de Paris),
+   betrothal to Duke of Braganza, 124
+
+Marie Amélie, Queen (wife of Louis Philippe), portrait by Gerard, 137;
+  her collection, 138;
+  visit from her son the Duc d'Aumale, 160
+
+Marie Anne of Bavaria, portrait of, 138
+
+Marie Antoinette (wife of Louis XVI), visits Chantilly, 97;
+  portraits of, as _Hebe_, 142, 263
+
+Marie Caroline, Queen of Naples, portrait by Mme. Vigée Le Brun, 263
+
+Marie de Medicis, portrait of, 138
+
+Marie Louise (wife of Napoleon), portrait by Prud'hon, 267
+
+Marie Louise Josephine (wife of Grand Duke of Tuscany), portrait
+   by Mme. Vigée le Brun, 263, 264
+
+Marie Thérèse of Spain, Infanta, marriage to Louis XIV, 64;
+  portrait of, 138
+
+Marie Thérèse Caroline (wife of Francis II, Emperor of Germany),
+   portrait by Mme. Vigée Le Brun, 263
+
+_Mariensippe_, a, 186, 188
+
+Mariette, M., his bequests to the Louvre, 156;
+  on Largillière's personal vigour, 254
+
+Marignan. See Preux de
+
+Marilhat, M., his works at Musée Condé, 139
+
+Marmion, Simon, his fine altar-piece at Saint-Bertin, 178, 197
+
+Marqueste, M., his figure of St. Louis, 276
+
+_Marriage of St. Francis of Assisi to Poverty_, by Sassetta, 145
+
+_Marriage of the Virgin, The_, 188
+
+_Mars and Venus_, by Paolo Veronese, 135
+
+Martel, M. le Comte, 145
+
+_Martigné Briant, Madame de_, portrait of, 244
+
+Martini, Simone, 173
+
+_Martyrdom of St. Stephen, The_, by Carracci, 135
+
+Mary Stuart, portraits of, Frontispiece, 229, 232, 241;
+  King's insulting words to, 242
+
+_Mary's Obsequies_, by Fouquet, 193
+
+_Mary Tudor_, portrait of, 242
+
+Masaccio, Tomaso, 171 _n._; his work in the Brancacci Chapel in Florence, 192
+
+_Massacre of the Innocents_, by Poussin, 135
+
+Maulde, M. de, and the _Maître de Moulins_, 199
+
+_May Day_, miniature of, 168
+
+Mazarin, Cardinal, created Cardinal, 36;
+  an implacable enemy to the Grand Condé, 40, 47-49, 53, 55, 57, 59-66;
+  his attempt to force taxation on merchandise, 44;
+  his exile, 55, 56, 57;
+  helps the King to recover Paris, 60;
+  Peace of the Pyrenees, 63, 64;
+  reconciliation with Grand Condé, 65;
+  portraits of, 134, 142, 251
+
+Mazzola, Giuseppe, his works in the Musée Condé, 132
+
+Mecklenburg-Schwerin, Duke of, marriage, 42
+
+Medici, Giuliano del, and Simonetta Vespucci, 146
+
+Medicis, Queen Catherine de (wife of Henri II), her
+   dislike for Anne de Montmorency, 8;
+  appointed Regent, 18-20;
+  her character, 22;
+  her son's treachery, 26;
+  portraits of, 26, 141, 151, 230;
+  her _Book of Hours_, 215;
+  and M. Humières, 229;
+  and Cardinal Odet de Coligny, 237;
+  as a collector and severe critic, 238-245
+
+Medicis, Queen Marie de (wife of Henri IV of France), 12;
+  murder of Henri IV, 15;
+  and the Grand Condé, 38;
+  miniature of, 138
+
+Mehun-sur-Yèvre, Castle of, 177
+
+Meissonier, Jean L. E., his works, 138, 152
+
+Méjanés Collection at Aix, 214
+
+Mely, M. de, _Gazette des Beaux Arts_, 172 _n._
+
+Memling, painting by, 62
+
+Mène, M., bronzes by, 277
+
+_Mercure de France_, description of entertainments at Chantilly, 90
+
+Mesangère, Pierre de la, his collection, 144
+
+Mesmes, Henri de, _Psalter of Queen Ingeburge_ presented to, 159;
+  and Catherine de Medicis, 242, 243
+
+Meulen, Van, _History of the Kings of France_, 251
+
+Michelangelo's _Slaves_, 276
+
+Michel de l'Hôpital, resignation of, 20
+
+Mierevelt's, _Elizabeth Stuart_, 133
+
+Mignard, Pierre, and the Grand Condé, 84;
+  portraits by, 84, 133, 142;
+  life of, 252, 253
+
+Millet, François, painter of the Barbizon School, 169, 275
+
+_Minerva_, a famous bronze, 136, 137
+
+_Miracle of the Loaves_, 177
+
+_Missal of St. Denis_ in the Victoria and Albert Museum, 160
+
+Molière, J., at Chantilly, 75, 83;
+  his poem _Amphitryon_, 75;
+  portraits of, 84, 142, 253;
+  statues of, 89, 276
+
+_Monatshefte für Kunstwissenschaft_, by Louise M. Richter, 204 _n._
+
+Montaigne, Michel de, portrait of, 147;
+  his _Journal du voyage_, 196
+
+Montbas, the Dutch General, and William of Orange, 80
+
+Montecucoli, Comte de, Austrian General, battle of Salzbach, 82
+
+Montespan, Mme., mistress of Louis XIV, 75;
+  her daughter's marriage, 85, 86;
+  portrait of, 143
+
+Montfaucon, Bernard de, and the _Book of Hours_, 186
+
+Months. See Calendar
+
+Monticelli, painter of the Second Empire, 276
+
+_Montjoies_, 175
+
+Montmorency, Anne de (known as the _Grand Connétable_),
+   history of, 5 _et seq._;
+  his artistic taste, 5, 6;
+  as a warrior, 6, 8;
+  jealousy of Francis I, 6;
+  Diane de Poitiers, 7;
+  created Duke, and death, 8;
+  portraits of, 8, 205, 230;
+  and Emperor Charles V, 10;
+  _Book of Hours_, 158;
+  statue by Dubois, 276;
+  bust, 277
+
+Montmorency, Charlotte de (wife of third Prince de Condé), her beauty, 9;
+  Henri IV's admiration for, 10-15;
+  marriage and retirement to the country, 12;
+  flight to the Netherlands and life there, 12-14;
+  shares her husband's imprisonment, 30, 31;
+  flight from Paris, 45;
+  at Chantilly, 50
+
+Montmorency, François de, succeeds Anne de Montmorency
+   as Lord of Chantilly, and marriage, 9
+
+Montmorency, Guillaume de, history of, 4, 5;
+  portraits of, 4, 206
+
+Montmorency, Henri II de, Lord of Chantilly,
+   imprisonment and execution of, 4, 31;
+  portrait of, 248
+
+Montmorency, Isabelle de, her pernicious influence over the Grand Condé, 42
+
+Montmorency, Jean de, 4
+
+Montmorency, Jean II de, marriage, 4
+
+Montroux, escape of Claire-Clemence to, 51, 52, 54
+
+_Mordecai on Horseback_ in the Lichtenstein Gallery in Vienna, 150
+
+Morgan, J. F. Pierpont, his collection, 262, 265
+
+Moro, Antonio, his works in the Musée Condé, 84
+
+Moroni, Giovanni, a portrait by, 132
+
+_Moulins, Maître de_, 199, 200
+
+Mulhouse, victory at, 82
+
+Munich Public Library, works by Fouquet at, 181, 182
+
+Musée Carnevalet, 263
+
+Musée Condé. See Condé
+
+Museo Nationale at Florence, 203
+
+_Mystic Marriage of St. Francis, The_, Gassetta, 146
+
+
+Nain, Brothers le, their paintings, 248
+
+Nantes, Edict of, 85
+
+Nantes, Mlle. (daughter of Louis XIV), child marriage, 85, 86;
+  portrait of, 255
+
+Naples, Queen of. See Marie Caroline
+
+Napoleon I, his _Memoirs_, 105;
+  Chantilly the property of the State, 109;
+  portraits by Gérard, 146, 268;
+  by Meissonier, 272;
+  and Prud'hon, 267
+
+National Gallery, Claude Lorraine's finest landscapes in, 250
+
+_Nativity of Christ_, by Fouquet, 191
+
+Nattier, Jean Marc, his paintings, 96, 254, 255
+
+Navarre, Henri de. See Henri IV
+
+Navarre, King of. See Bourbon, Antoine de
+
+Navarre, Queen of. See Albret, Jeanne de
+
+Navarre, Nicholas Baron, his manuscripts, 185
+
+Nélaton, Moreau, 203, 239;
+  his drawing in red chalk of Cardinal Odet de Coligny, 237;
+  _Erasmus_, 238;
+  _Le Portrait à la cour des Valois_, 239 _n._
+
+Nemours, Duc de, 56; portraits by Fouquet, 141;
+  _Antiquitates Judæorum_, 183
+
+Nemours, Duchesse de, her description of the Grand Condé, 57
+
+Neubourg, Duc of, portrait by Van Dyck, 133
+
+Nevers, Louis de, portraits of, 214, 223, 238
+
+Nieuwenhuys, M., sells _Mars and Venus_, 135
+
+Nolivos Sale, 137
+
+Nord, Comte du (afterwards Emperor Paul of Russia),
+   his visit to Chantilly, 98-100
+
+Nördlingen, Battle of, 40
+
+Northbrook Collection, 208
+
+Northwick Sale, 135
+
+Nôtre, André Le, lays out the Gardens at Chantilly, 66, 67;
+  statues of, 89, 276
+
+_Numa Pompilius and the Nymph Egeria_, by Poussin, 249
+
+
+Oberkirch, Baroness, describes the visit of the
+   Comte du Nord to Chantilly, 99, 100
+
+Odet de Foix. See Foix.
+
+_Old Man_, by Brothers Lagneau, 245
+
+Orgemont, Pierre de (Chancellor to Charles V of France), owned Chantilly, 3
+
+Orlant, Prince, portrait of, 198
+
+_Orléans, Charles Maximilian_, 239
+
+Orléans, Duc de (afterwards King Louis Philippe),
+   death of Louis Joseph de Condé, 113;
+  breeds English racehorses in France, 116;
+  visit to Chantilly, 118;
+  abdication, 118, 119;
+  portraits of, 137, 266, 267
+
+Orléans, Duchesse de (wife of above), portrait by Gérard, 268
+
+Orléans, Duc de (son of above), portrait of and death, 268
+
+Orléans, Gaston, Duc de (brother of Louis XIII), and the
+   Grand Condé, 55, 56, 57, 60;
+  portraits of, 137, 143;
+  owned _Vierge de la Maison d'Orléans_, 139
+
+Orléans, Girard de, assists Jean de Coste to decorate the
+   Château de Vaudreuil, 200
+
+Orléans, Henri de. See Aumale, Duc de
+
+Orléans, Louise Marie Thérèse Bathilde de, marriage, 97
+
+Orme, Nicolas, translates Aristotle's _Ethics_, 157
+
+_Oronce Finé_, portrait by Clouet of, 212, 213
+
+Orsini, Marie Felice, pleads in vain for her husband Henri
+   de Montmorency's life, 31, 32
+
+Otto I, Emperor, portrait of, 138
+
+Oudry, M., his works, 132, 256;
+  _Mary Stuart_, 233;
+  character of his work, 255, 256
+
+_Oursine_, meaning of name, 174;
+  portrait of, 176
+
+
+Palatine, Princess. See Princess
+
+Palisse, Seigneur de la, portraits of, 202, 205
+
+Pallavicini, villa at Pegli, illness of Queen Marie Amélie, 161
+
+Palma, Jacopo, _Holy Family_, 145
+
+Panizzi, Sir Antonio, Principal Librarian of the British Museum, 161
+
+_Paolo Malatesta and Francesca da Rimini_, by Ingres, 133
+
+Paon, Le, a hunting-scene by, 100
+
+_Papal Legate_, by Fouquet, 207 _n._
+
+_Parement de Narbonne_, now in the Louvre, 154
+
+Paris, breaking out of the Fronde, and blockade of, 44, 45;
+  welcome of the Grand Condé, 55;
+  capture of Paris by the Grand Condé and retreat from, 60;
+  entry of Louis XIV, 65;
+  painting by Dupré, 275
+
+Paris, Comte de. See Louis Philippe
+
+Paris, Comte de, abdication of his grandfather Louis Philippe
+   in his favour, 119
+
+Paris, Gaston, _Histoire litteraire de la France_, 157
+
+Pazet, Jean, a follower of Fouquet, 197
+
+Pembroke, Earl of, owner of the _Parement de Narbonne_, 154
+
+Penni, Luca, his works in Musée Condé, 132
+
+Peronneau, M., his works, 261
+
+Perrault, M., 267
+
+Perréal, Jean (Court-painter to Louis XII), his works, 4, 151,
+   189 _et seq._, 199-210, 218;
+  a follower of Fouquet, 197;
+  history of, 199, 202-210
+
+Perugino, 135
+
+Petit-Château, 6, 123
+
+Philip II, King of Spain, and the Princesse de Condé, 14
+
+Philip le Beau, portrait of, 208
+
+Philippe Augustus, illustrations of events in his life
+   in _Chronique de France_, 182
+
+Philippe Egalité, portraits by Sir Joshua Reynolds, 134;
+  by Fleury, 137;
+  by Vernet, 266
+
+_Philobiblon Miscellanies_, The, 164
+
+Pichius, Albertus, _The Gallic War_, 157
+
+Pichon, Baron, his collection, 246
+
+Pierre des Iles, known as "Macon" of Chantilly, 8
+
+Pisanello, 131
+
+Pisseleu, Jossine (niece of Duchesse d'Estampes), portraits of, 227, 234
+
+Pitt, William, reception in England of Louise de Condé, 110
+
+Pius V, Pope, and Cardinal Odet de Coligny, 237
+
+_Plaisir Pastoral_, by Watteau, 258
+
+_Pluto and Proserpine plucking Daffodils_, by Chapu, 276
+
+Poitiers, Castle of, in _Calendar_ of Months, 170
+
+Poitiers, Diane de (mistress of Henri II), intimate friend
+   of Anne de Montmorency, 7, 230;
+  portraits of, 141, 240, 241;
+  her beautiful daughter "Brasseu," 228;
+  reception at Lyons, 231
+
+Poliziano, writer of sonnets on Simonetta Vespucci, 146
+
+Pollaiuolo, Antonio, 146
+
+Pompadour, Mme. de, and Boucher, 257;
+  portraits of, 257, 263
+
+_Pompey enters the Temple in Triumph_ in _Antiquitates Judæorum_, 189
+
+_Pont de Sèvres_, by S. W. Reynolds, 274
+
+Porcelain, collection of Chantilly, 277
+
+_Port St. Nicholas_, by Dupré, 275
+
+Pot, Anne de (mother of Anne de Montmorency), marriage, 5
+
+Pourbus, portrait of _Henri IV_, 142
+
+Pourtales vase, the famous, 136
+
+Poussin, Nicolas, his works, 135, 146, 249, 250;
+  history of, 249, 250;
+  and Simon Vouet, 251
+
+_Prayer Book of Anne de Bretagne_, 198
+
+_Precieuses Ridicules, The_, acted at Chantilly, 75
+
+Presler, Raoul de, translates St. Augustine's _Cité de Dieu_, 157
+
+_Preux de Marignan_, 151, 157, 202, 204;
+  painted by Perréal, 204, 206
+
+Prie, Mme. de (mistress of the Duc
+de Bourbon), charms and machinations of, 93, 94;
+  exile and death, 94
+
+Primaticcio, Francesco, his portrait of Henri II, 133, 236;
+  the frescoes at Fontainebleau, 228
+
+Princess Palatine, Charlotte Elizabeth (devoted friend of the
+   Grand Condé), portrait of, 245;
+  Charlotte Elizabeth (second wife of Philippe d'Orléans), 254
+
+_Procession, A_, by Bouts, 146;
+  _of the Magi_, by the Limbourgs, 174, 201 _n._
+
+_Prophets_, by Michael Angelo, 131
+
+Protais, _Avant et après le Combat_, 135
+
+Protestant cause in France, 17-19, 21, 23, 85;
+  disaster at Vimory and Auneau, 26
+
+Provence, Comte de, portrait by Duplessis, 261
+
+Prud'hon, Pierre, works by, 139, 147, 258, 267;
+  Napoleon confers the Legion of Honour on, 267
+
+_Psalter of Queen Ingeburge of Denmark_, 150, 158
+
+Pucelle, Jean, 160
+
+Pyrenees, Peace of the, 64
+
+
+Quesnel, Brothers, works by, 142, 143, 246
+
+Quesnoy, M. (French sculptor), and Poussin, 249
+
+Quitaut, Captain, arrests the Grand Condé, 48
+
+Quthe, Pierre, portraits by François Clouet, 235, 236
+
+
+Racine, Jean, at Chantilly, 75, 76, 83
+
+Raimondi, Marc Antonio, works of, 134
+
+Raphael, works by, 130, 139, 140, 148, 149
+
+Ravaillac assassinates Henri IV, 15
+
+_Reading Monk, A_, by Raphael, 130
+
+Reboul's Collection, 149
+
+_Recueils, Gaignière_, 185, 186;
+  _Lenoir_, 214;
+  _Marriette_, 214;
+  _d'Orange_, 214;
+  _du Tillet_, 215;
+  _d'Arras_, 215
+
+_Reine de Mai, La_, 168
+
+Reiset Collection, 130, 144-146, 156, 269
+
+Rembrandt, Paul, _Mountainous Landscape_, 131;
+  other works, 134
+
+Renaissance, distinction between French and Italian, 7;
+  architecture, 187
+
+_Renaissance, La_, by Laborde, 212
+
+René, King, owned _Livre d'Heures_, 202
+
+Rénée de France (Duchesse de Ferrara), her marriage, 221;
+  portraits of, 218, 221
+
+Reni, Guido, his work at Musée Condé, 132
+
+_Repos des paysans, Le_, by Brothers le Nain, 248
+
+_Resurrection_, 138
+
+_Return from the Captivity_, 184
+
+_Return of the Prodigal Son_, by Lucas van Leyden, 131
+
+Retz, Cardinal de. See Gondi, Paul
+
+Retz, Duc de, portraits of, 142, 235
+
+Retz, Mme. de, portrait of, 235
+
+Reynolds, Sir Joshua, portraits of _Philippe Egalité_, 134;
+  _Maria Lady Waldegrave with her daughter_, 138
+
+Reynolds, S. W. (Constable's friend and pupil), works by, 138, 274
+
+Rheno-Byzantine painting of _King Otto I_, 138
+
+_Rhetorics._ See Cicero
+
+Richelieu, Cardinal, imprisonment of third Prince de Condé, 31;
+  marries his niece to the Grand Condé, 34-36;
+  selects the Grand Condé
+as Commander-in-Chief, 37;
+  portraits of, 134, 250, 277
+
+Richter, Louise M., _Monatshefte für Kunstwissenschaft_, 204
+
+Riesener, M., a splendid cabinet at Chantilly by, 134
+
+Rigaud, Hyacinthe, portrait painter, 134, 253
+
+Riom, Castle of, 169
+
+Robertet, François (secretary to Duc de Bourbon),
+   on Josephus' _Antiquities_, 155, 183
+
+Robinson, Sir Charles, sells Italian manuscripts to Duc d'Aumale, 138
+
+Rochefoucauld, Duc de, 56
+
+Rochelle, La, Huguenots' flight to, 21, 23
+
+Rocroy, Battle of, 39
+
+Rohan, Princesse Charlotte de, 110
+
+_Roman Campagna, A View of_, by Dughet, 250
+
+_Roman Campagna, Aqueducts of_, by Claude Lorraine, 250
+
+Romano, Giulio, his works at Musée Condé, 132
+
+_Rome, Plan of_, 152, 177
+
+Rosa, Salvator, works by, 133
+
+Rosso executes frescoes at Fontainebleau, 228
+
+Rothschild, Baron Adolph de, his collection, 165
+
+Rothschild, Baron Edmond de, owner of _Belles Heures de Jean de Berry_, 179
+
+Rothschild, Maurice de, owner of _Book of Hours_, 160
+
+Roye, Eleanore de (wife of first Prince de Condé), marriage and
+   imprisonment of her husband, 17;
+  his release, 19;
+  her death, 20
+
+Russell, Fuller, sells the Jean de France diptych to Duc d'Aumale, 148
+
+Ruysdael, Jacob, _Dunes at Scheveningen_, 139;
+  other works, 147
+
+
+St. Augustine's _Cité de Dieu_, 157
+
+St. Bartholomew, Massacre of, 20, 22, 243
+
+St. Bertin, fine altarpiece at, 197
+
+_St. Bruno, Scenes from the Life of_, by Le Sueur, 252
+
+_St. Catherine_ on the Louvre, 130
+
+St. Chapelle, 169, 189
+
+St. Denis, Convent of, Claire-Clemence at, 35, 36
+
+_St. Denis, Missal of_, in Victoria and Albert Museum, 160
+
+St. Etienne, Guillaume de, a monk, 157
+
+St. Evremond, his praise of the Grand Condé, 87, 88
+
+_St. Francis._ See _Mystic Marriage of Ste. Geneviève_, by Chavannes, 269
+
+_St. John, Birth of_, by Fouquet, 188, 190
+
+_St. Louis_, by Marqueste, 276
+
+_St. Margaret_, by Fouquet, 186
+
+_St. Martin dividing his Mantle_, in the Conches Collection, 186
+
+_St. Mary Magdalen_, at Frankfort, 269
+
+St. Michel, Mont, 177
+
+_St. Michel, MS. de_, 202
+
+St. Priest, Jehan de, sculptor, 210
+
+St. Simon's _Mémoires_, 91, 246
+
+St. Stephen's Chapel at Westminster, paintings in, 201
+
+_Sacre et l'Intronisation de l'Empereur_, by David, 269
+
+Salerno, Prince de, his collection, 132, 133
+
+_Salière du Pavillon_, by Pol Limbourg, 167
+
+Salting Collection, in the British Museum, 152, 230, 231, 242
+
+San Donato Sale, 139
+
+_Santuario_ at Chantilly, 186
+
+Sarcophagus, antique, _Bacchus and Ariadne_, 137
+
+Sarrazin, Jacques, bronze monument
+of Henri II de Bourbon, 123
+
+Sarto, Andrea del, his works at Chantilly, 132
+
+Sassetta, _The Marriage of St. Francis of Assisi to Poverty_, 145, 146
+
+Sassoferrato, Giambattista, _Madonna_, 133
+
+Saumur, Castle of, in _Calendar_ of Months, 170
+
+Sauvageot Collection, 214
+
+Savoy, Charles of, owned _The Breviary_, 162
+
+Savoy, Charles Emmanuel, education of, 221
+
+Savoy, Philibert, and Perréal, 209
+
+Scheffer, Ary, works by, 138, 268;
+  his pupil Puvis de Chavannes, 269;
+  and Rousseau, 275
+
+Schlestadt, Battle of, 82
+
+_Second Appearance of Esther before Ahasuerus_, 149
+
+_Second Decade_, Livy's, translated by Pierre Bersuire, 157
+
+Secretan Sale, 152
+
+Seillier, Baron, 150
+
+Senlis, Seigneurs of, also named _Bouteillers_, 3
+
+Sévigné, Mme. de, _Letters of_, describes Chantilly, 76, 83
+
+_Shepherd in the Pyrenees, A_, by Rosa Bonheur, 135
+
+Sienese School, 139
+
+_Sieur de Canaples_, portraits of, 223
+
+Signorelli frescoes, 176
+
+_Simonetta Vespucci_, portrait of, 146
+
+Sixtine Chapel, 131
+
+_Soleil Couchant_, by Dupré, 275
+
+Soltykoff Sale, 136
+
+_Sommeil de Psyche_, by Prud'hon, 267
+
+Sotheby, auctioneer, sale of _Antiquitates Judæorum_, 183
+
+Soubise, Princesse Charlotte de, marriage to sixth Prince de Condé, 96;
+  portraits of, 96, 255;
+  character and death, 97
+
+_Souvenir d'Italie_, by Corot, 275
+
+Spada, Lionello, his work at Musée Condé, 132
+
+Spain, war with France, 38 _et seq._, 78;
+  Grand Condé's alliance with, 61;
+  a lost battle, 63;
+  Peace of Pyrenees, 64
+
+Spain, Elizabeth, Queen of, portrait, 142
+
+Spain, Infanta of, 93
+
+Spinola, General, the captor of Breda, 163
+
+Spinola, Marchese Ambroglio di, history of, 13, 14
+
+Spinoza, Benedict, his Pantheistic doctrines, 87
+
+Standish Library, the famous, 129, 130
+
+_Statutes of the Order of St. Michael, The_, 181
+
+Stella, Jacques, his portrait of the _Grand Condé_, 251
+
+_Stratonice_ (Tribune), by Ingres, 269
+
+Strozzi, Maréchal, portraits of, 231, 235
+
+Stuart, Elizabeth, Queen of Bohemia, portrait of, 133
+
+Stuart, Mary, Queen of Scots, 21
+
+Sueur, Eustache le, his work, 252
+
+Subleyras, M., his portrait of _Pope Benedict XIV_, 142
+
+Sully, Maximilien, Duc de, Minister of Finance, portraits of, 138, 142, 246
+
+_Sunrise and Sunset_, by Boucher, 257
+
+_Surprise, La_, by Greuze, 262
+
+Sutherland Collection, the, 141-143
+
+
+_Table Ronde_, 157
+
+Talleyrand-Périgord, Charles Maurice de, portraits of, 138, 268
+
+Tanagra figures, four, 141
+
+_Temptation of our Lord, The_, 176
+
+_Tendre Desir, Le_, by Greuze, 262
+
+Teniers, David, the younger, 36, 139
+
+_Terrestrial Paradise_, 173
+
+Thérèse, Marie, Queen of Louis XIV, portrait of, 138
+
+_Thésée découvrant l'épée de son père_, by Poussin, 135, 249
+
+Thevet's series of _Hommes Illustres_, 212, 215
+
+Thionville, Battle of, 40
+
+Thomson, Mr. Yates, his collection, 160, 181;
+  _The Romance of a Book_, 183 _n._
+
+Thouars, Duc de, 24
+
+_Three Graces, The_, by Raphael, 148, 149, 187
+
+_Tiburtine Sybil prophesying to Augustus_, 173
+
+Tiepolo, his works at Musée Condé, 147
+
+Titiens, Tiziano Vecelli, the celebrated painter, _Ecce Homo_, 135
+
+Tixier, Père, and Claire-Clemence, 73
+
+Tott, Mme. de, her portrait of _Louis Joseph de Bourbon_, 265
+
+Touchet, Marie (mistress of Charles IX), portrait of, 244
+
+Tour d'Auvergne, Henri de la. See Turenne
+
+Tournon, Just de, portraits by Perréal of, 204, 205
+
+_Toussaint, La_, by Fouquet, 194
+
+Trémoille, Charlotte Catherine de la, portrait of, 16;
+  history and marriage of, 24, 25;
+  her husband's death, 27;
+  compromising conduct of, 28;
+  imprisonment, and birth of a son, 29;
+  abjures the Protestant faith, 30
+
+Trémoille, Duc de la, occupies Chantilly, 119
+
+_Très Belles Heures._ See Book of Hours
+
+_Très Riches Heures de Duc de Berry, Les._ See Book of Hours
+
+Triqueti, Baron, buys the famous Pourtales vase, 136
+
+Trivulzio, Prince, his collection, 165
+
+Troy, De, _Déjeuner d'Huîtres_, 134
+
+Tudor, Mary, portrait by Perréal, 205
+
+Turenne (Henri de la Tour d'Auvergne), Vicomte de, Commander-in-Chief, 37;
+  war between France and Spain, 38;
+  Battle of Rocroy, 39;
+  Battle of Nördlingen, 40;
+  imprisonment of the Grand Condé, 49;
+  reception of Claire-Clemence at Bordeaux, 52;
+  compels the Grand Condé to retreat from Paris, 60;
+  defeats the Grand Condé in battle near Dunkirk, 63;
+  Peace of the Pyrenees, 64;
+  reception of the Grand Condé, 65;
+  at Chantilly, 75;
+  marches into Flanders, 78;
+  advance on Holland, 79 _et seq._;
+  his death, 82, 83;
+  bust by Derbais of, 277
+
+_Turkish Guards on their way from Smyrna to Magnesia_, by Descamps, 271
+
+_Turkish Landscape_, by Descamps, 271
+
+
+_Unknown Lady_, by Clouet, 223
+
+_Unknown Young Men_, by Clouet, 223
+
+Utterson Sale, 134
+
+
+Vaga, Perin del, his works at Musée Condé, 132
+
+_Valere Maxime_, French translation of, 157
+
+Valier, De S., portrait of, 238
+
+Valois, Claude de, portrait of, 244
+
+Valois, Elizabeth de, 233
+
+Valois, Madeleine de, history and portrait of, 218
+
+Valois, Princes of, hostages in hands of the Emperor Charles V, 6
+
+Van der Velde, sea-piece by, 139
+
+Van Dyck, Sir Anthony, his works, 84, 132, 133, 137
+
+Van Loo's portrait of a _Young Woman_, 133
+
+Vâtel, the _maître d'hôtel_ at Chantilly, commits suicide, 76
+
+Vaudreuil, Château de, 200
+
+Vauldy, M. de, the escape of Claire-Clemence, 51, 52
+
+_Vedette des Dragons sous Louis XV_, La, by Meissonier, 272
+
+_Venus Anadyomène_, by Ingres, 147, 270
+
+_Venus and Adonis_, by Prud'hon, 267
+
+Vermandois, Comtesse Eleanore de, 158.
+
+Vermandois, Mme. de, 100
+
+Vernet, Joseph, celebrated marine painter, 266
+
+Vernet, Charles (son of above), his works at Musée Condé, 266
+
+Vernet, Horace (son of above), his works at Musée Condé, 266, 267
+
+Veronese, Paolo, his paintings, 84, 135
+
+Verrochio, his drawings, 131
+
+_Vespucci, Simonetta_, portrait of, 146
+
+Victoria and Albert Museum, _Missal of St. Denis_, 160;
+  _Mary Stuart, Queen of Scots_, 232 _n._;
+  Chantilly porcelain, 277 _n._
+
+Vielville, Maréchal de, portraits of, 231, 246
+
+_Vierge de la Maison d'Orléans_, by Raphael, 139
+
+_View near London, A_, by Constable, 273
+
+Vilatte, M., painting by, 42, 146
+
+Vimory, Battle of, 26
+
+Vincennes, Château of, 159
+
+_Virgin_, by Dürer, 131
+
+_Virgin and the Holy Child_, 150
+
+_Virgin as Protector of the Human Race, The_, 42, 146
+
+_Virgin, Coronation of the_, by San Stefano, 145;
+  by Limbourg Brothers, 178
+
+_Virgin, Death of the_, by Giotto, 145
+
+_Virgin, Marriage of the_, by Fouquet, 182, 188
+
+_Virgin with the Infant Christ_, by Fouquet, 181
+
+_Vision of St. Hubert_, by Baudry, 273
+
+_Visitation, The_, by Fouquet, 186, 189
+
+Voldemont, Monsieur de, portrait by François Clouet of, 239
+
+Volterra, Daniele di, his works in Musée Condé, 132
+
+Voragine, Jacopo da, _Legenda Aurea_, 188
+
+Vouet, Simon, and the decoration of the Louvre, 249;
+  Charles Le Brun his pupil, 251
+
+
+Waagen, Dr. G. F., 161
+
+_Waldegrave with her daughter, Maria Lady_, by Sir Joshua Reynolds, 138
+
+Wallace Collection, compared with Musée Condé, 152;
+  _Louis XII and Anne de Bretagne_, medal by Jean Perréal, 209;
+  Watteau's works, 257, 259;
+  Greuze's works, 262;
+  Meissonier's works, 272
+
+Walpole, Horace, his collection, 151
+
+Warner, Mr., Librarian of Royal Library of Windsor, and the
+   _Antiquitates Judæorum_, 183
+
+_Warrior, A_, by Watteau, 258
+
+_Warrior on horseback_, 131
+
+Watteau, Ant., his paintings, 139, 143, 257, 258
+
+Westphalia, Peace of, 44
+
+William of Orange submerges Holland to withstand attacks of
+   France, 79, 81, 82
+
+Winterhalter, F. (Court-painter to Louis Philippe and Napoleon III),
+   _Louis Philippe_, 137;
+  _Duc d'Aumale_, 273
+
+Wirty, De, the Dutch General, 80
+
+_Woman taken in Adultery, The_, by Giorgione, 135
+
+Woodburn Collection, 149
+
+Würmser, the Austrian General, and Condé's regiment, 105
+
+
+Yates-Thomson. See Thomson
+
+_Young Boy_, by Greuze, 262
+
+_Young Girl winding Wool_, by Greuze, 262
+
+_Young Girl in a Cap_, by Greuze, 262
+
+
+Zanzé, Vicomtesse de, collection of, 246
+
+Ziem, the painter of Venice, _Les Eaux Douces d'Asie_, 276
+
+_Zodiac, The_, in Très Riches Heures, 172
+
+PRINTED BY
+
+HAZELL, WATSON AND VINEY, LD.,
+
+LONDON AND AYLESBURY.
+
+       *       *       *       *       *
+
+ERRATA (corrected in etext)
+
+Page 6, line  6. Boisy _instead of_ Boissy.
+
+ "   7,   "   5. Viollet le Duc _instead of_ Violet le Duc.
+
+ "  25,   "   8. Angers _instead of_ Angera.
+
+ "  28,   "  21. la bague _instead of_ la bagoc.
+
+ " 105,   "   9. Würmser _instead of_ Würmer.
+
+ " 141, last line. Madame de Lansac _instead of_ Lançai.
+
+ " 142, line 13. Subleyras _instead of_ Suleyras.
+
+ " 152,   "  11. Détaille _instead of_ Détailleur.
+
+ " 155,   "   8. 1416 _instead of_ 1516.
+
+ " 157,   "   4. Raoul de Presles _instead of_ Raoul de Presler.
+
+ "  " ,   "   5. Nicolas Oresmes _instead of_ Nicolas Orme.
+
+ " 162,   "  13. 1454 _instead of_ 1545.
+
+ " 165,   "   2 of _Note_. Hours _instead of_ Horus.
+
+ " 275,   "  23. Dupré _instead of_ Duprés.
+
+
+FOOTNOTES:
+
+[1] This last-named castle has also been bequeathed to the French
+nation by its owner.
+
+[2] The grandfather of Henri II de Bourbon, husband of the fair
+Charlotte de Montmorency.
+
+[3] When the Cardinal de Lorraine, her uncle, suggested to the young
+Queen this marriage as political salvation for himself, she exclaimed
+ironically, "Truly I am beholden to my uncle. So that it be well with
+him, he careth not what becometh of me."
+
+[4] See Plate VII.
+
+[5] According to Brantôme, the Duc d'Anjou was inconsolable after her
+death and for a long time wore deepest mourning for her.
+
+[6] See Plate VI.
+
+[7] See p. 10 _et seq._
+
+[8] _Journal historique et anecdote de la Cour et de Paris._
+
+[9] Octave Homberg et Fernand Jousselin.
+
+[10] See Plate V.
+
+[11] Called in Germany "Allerheim" to distinguish it from the battle of
+Nördlingen, where the Archduke Ferdinand was victorious over Bernard of
+Weimar in 1434.
+
+[12] This stone table is still used as a _rendezvous de chasse_ by the
+Duc and Duchesse de Chartres.
+
+[13] He, however, was generally known not as Prince de Condé but as Duc
+de Bourbon or Monsieur le Duc.
+
+[14] This brought enormous benefits to the Crown, but was the cause of
+the famine in 1768.
+
+[15] "_Histoire de Chantilly pendant la Revolution_," par M. Alexandre
+Sorel.
+
+[16] The Château d'Enghien, built in 1770, was chiefly used for the
+attendants and suites of the illustrious guests who came to Chantilly.
+
+[17] See p. 8.
+
+[18] A sketch for the well-known picture of that Saint in the National
+Gallery.
+
+[19] There is a certain affinity between this picture and the portrait
+in the National Gallery which is said to represent _Ariosto_.
+
+[20] The other is the _Madonna del Connestabile_ now in the Hermitage.
+
+[21] See Plate XIV.
+
+[22] _Der Breslauer Froissart_ von Arthur Lindner. (Berlin, 1912.)
+
+[23] A drawing of which is in the British Museum.
+
+[24] Bernhard Berenson, _A Sienese Painter of the Franciscan Legend_.
+(_Burlington Magazine_, 1903).
+
+[25] See Plate XXIII.
+
+[26] See Plate XII.
+
+[27] DEAR AND ROYAL BROTHER,
+
+I have just read your appreciative words about me. I write to you
+with emotion. You are a prince by birth and have become a man. For
+me your Royalty has ceased to be political and is now historical; my
+Republican conviction is not disturbed by it. You have contributed to
+the greatness of France. And I love you.
+
+[28] See Plate XXV.
+
+[29] Louis Dimier, _Les Portraits peints de François I_.
+
+[30] This interesting picture was painted at Calais in 1396 on the
+occasion of the marriage between Richard II of England and Isabelle,
+daughter of the King of France.
+
+[31] The first volume of this MS. is in the British Museum, and
+the second with the miniatures of the _Preux de Marignan_ in the
+Bibliothèque Nationale, Paris.
+
+[32] _Purgatorio_, canto II, v. 80.
+
+[33] Closely allied to the _Ingeburge Psalter_, and likewise
+showing English influence, is the _Arsenal_ MS., formerly at the
+Sainte-Chapelle, and executed for Blanche Castille, mother of St. Louis.
+
+[34] Cf. p. 168.
+
+[35] It was fortunate indeed that Comte Paul Durrieu had made a
+reproduction in phototype from the original _Hours of Turin_ before
+they were burnt; for they were by far the most interesting part of
+the MS. Some of the miniatures have been attributed to Hubert van
+Eyck--namely that portion which in 1417 belonged to Count Hainau, who
+is himself represented in one of them arriving with his train on the
+shores of the North Sea, where his daughter Jaqueline and her attendant
+ladies are awaiting him.
+
+[36] See Plate XXVII.
+
+[37] "_Une Salière d'agathe garnie d'or et de perles, laquelle salière
+l'artiste donna à monseigneur aux estraignes._"--Léon de Laborde,
+_Glossaire_, p. 367.
+
+[38] See Plate XXVIII.
+
+[39] Cf. p. 163.
+
+[40] See Plate XXIX.
+
+[41] See Plate XXX.
+
+[42] See Plate XXXI.
+
+[43] See Plate XXXII.
+
+[44] See Plate XXXIII.
+
+[45] See Plate XXXIV.
+
+[46] See Plate XXXV.
+
+[47] Masaccio (born in 1401), it is believed, could not have painted
+the frescoes at San Clemente before 1417; perhaps even, considering his
+age, rather later.
+
+[48] M. de Mely, _Gazette des Beaux Arts_, 1912.
+
+[49] Durrieu mentions that one of the _Kings_ seems to have been
+_inspired_ by this medal, but as a matter of fact he is _faithfully
+copied_ from it.
+
+[50] See Plate XXXVIII.
+
+[51] See Plate XXXIX.
+
+[52] It was in this castle that the Duc de Berry commissioned André
+Beauneveu, Pol Limbourg's predecessor, to prepare for him a _Book of
+Hours_, subsequently completed with the assistance of Jacquemart de
+Hesdin. This MS., which contains a very characteristic portrait of the
+_Duke_ himself, is now to be seen in the Library at Brussels. Beauneveu
+died in 1413, two years before the Brothers Limbourg appeared upon the
+horizon of French Art.
+
+[53] See Plate XXVI.
+
+[54] Also called _Heures d'Ailly_, after its former owners.
+
+[55] Probably the figure to the right drawn full face, for it bears
+an unmistakable resemblance to Fouquet's _Portrait of Himself_ in the
+Louvre, executed in enamel.
+
+[56] Cf. _The Romance of a Book_, by Yates Thomson (_Burlington
+Magazine_, 1906).
+
+[57] See Plate XL.
+
+[58] See Plate LXI.
+
+[59] See Plate XLII.
+
+[60] See Plate XLIII.
+
+[61] See Plate XLIV.
+
+[62] See Plate XLV.
+
+[63] We find this composition also in Duccio's famous altarpiece at
+Siena.
+
+[64] All Saints' Day. See Plate XLVIII.
+
+[65] _Journal du voyage de Michel Montaigne_, i. p. 17.
+
+[66] In the collection of Mr. Ayr in London.
+
+[67] M. Leprieur, _Gazette des Beaux Arts_, January 1911.
+
+[68] A contemporary monument in the Cathedral at Tours erected by Anne
+de Bretagne to the memory of these two little boys has assisted greatly
+in the identification of these portraits.
+
+[69] At the sale of the collection of Mr. Robert Hoe in New York there
+came to light another example of Bourdichon's skill in the _Hours of
+Anne de Beaujeu_.
+
+[70] _MS. 18014_, Bibl. Nat. Paris.
+
+[71] There is a portrait of the same monarch in a MS. at The Hague
+(copied for Gaignières) to which is attached a note giving its date and
+the name of the artist as a certain Jean de Bruges, who according to M.
+B. Prost seems to be identical with Johannes Bandol _pictor regis_.
+
+[72] The three others, representing _Edward III_, _Charles IV of
+Germany_, and _Charles, Duke of Normandy_ (afterwards Charles V of
+France), have unfortunately disappeared.
+
+[73] _The Magi with the Portraits of Edward III and Queen Philippa as
+Donors._
+
+[74] _History of Art in England_ (Burlington Fine Arts Club Exhibition,
+1909).
+
+[75] Bibliothèque Nationale, Paris.
+
+[76] A _chef d'oeuvre_ of French miniature-painting during the reign
+of Charles VIII (Bibliothèque Nationale, Paris).
+
+[77] See Plate LII.
+
+[78] _Gazette des Beaux Arts_, June 1907.
+
+[79] Louise M. Richter, _Monatshefte für Kunstwissenschaft_, July 1909.
+
+[80] See Plate L.
+
+[81] See Plate LII.
+
+[82] See Plate XLIX.
+
+[83] _Lettres de Louis XII, Nouvelle citè de l'Heptameron._
+
+[84] See Plate II.
+
+[85] See Plate LII.
+
+[86] _MS. Fr._ 20,490, fo. 6. These autographs display elegance in
+handwriting; and one of them refers to a mission with which Perréal
+was entrusted by Anne de Beaujeu, wife of Pierre de Bourbon, to fetch
+back the diamonds which she had deposited with Madame du Plessis Bourré
+during the Civil War. The Court of Moulins at that time was known as
+a centre of art and literature under the auspices of the cultured
+daughter of Louis XI.
+
+[87] Among the drawings attributed to Fouquet the _Papal Legate_,
+formerly in the Heseltine Collection, is the best known.
+
+[88] Called "of Navarre" because he worked for Marguerite de Valois,
+Queen of Navarre, sister of Francis I. The portrait of _Louis de
+Saint-Gelais_ in the Louvre (1513-39), of which a drawing is in the
+British Museum, is attributed to him.
+
+[89] See Plate LIII.
+
+[90] _Plusiers portraits et effigies au vif qu'il a faictes_, Laborde,
+_La Renaissance_, p. 15.
+
+[91] Laborde, _Comptes des Bâtiments_, III, p. 237.
+
+[92] See Plate LV.
+
+[93] See Plate LVI.
+
+[94] See Plate LXII.
+
+[95] Formerly in the Heseltine Collection.
+
+[96] I am indebted for this information to Sir Sidney Colvin.
+
+[97] See Plate LVII.
+
+[98] See Plate LVIII.
+
+[99] See Plate LIV.
+
+[100] See Plate LXI.
+
+[101] See Plate LXII.
+
+[102] See Plate LXI.
+
+[103] See Plate LVII.
+
+[104] Cf. _The Life of Benvenuto Cellini_. A new version by Robert H.
+Hobart Cust (London: George Bell & Sons, 1910).
+
+[105] A town which formed part of her own dowry.
+
+[106] See Plate LIX.
+
+[107] See Plate LX.
+
+[108] See Plate LV.
+
+[109] Admirable portraits of this same _Sieur de Canaples_, whose wife
+was one of the _Petite Bande_ of Francis I, are in the British Museum
+(Salting Collection) and at the Albertina, Vienna.
+
+[110] See Plate LIX.
+
+[111] See Plate LXI.
+
+[112] See Plate LXV.
+
+[113] Collection Deligand, Paris.
+
+[114] G. Moreau Nélaton, _Les Le Mannier_.
+
+[115] See Frontispiece.
+
+[116] See Plate X.
+
+[117] See Plate IV.
+
+[118] See Plate LXVIII.
+
+[119] See Plate IX.
+
+[120] See Plate LXXI, British Museum, Salting Collection.
+
+[121] See Plate VIII.
+
+[122] The painting in the Victoria and Albert Museum (Jones Collection)
+is also an echo of this same drawing.
+
+[123] See Plate LXVII.
+
+[124] The nephew of François Clouet, whose signature, _Fulonis fecit_,
+we find on some of the markedly weaker drawings of the Lecurieux album.
+
+[125] See Plate LXV.
+
+[126] See Frontispiece.
+
+[127] Dimier, _Bulletin de la Société Nationale de Antiquaires de
+France_.
+
+[128] See Plate LXIX.
+
+[129] See Plate LXX.
+
+[130] See Plate LXXI.
+
+[131] See Plate LXXII.
+
+[132] The late M. F. A. Gruyer recently presented to the Musée Condé a
+fine landscape by Claude Lorraine which hangs in the Salle de Minerve,
+and there are some excellent drawings by this master in the portfolios
+in the Salle Caroline.
+
+[133] See Plate XV.
+
+[134] See Plate LXXIII.
+
+[135] See Plate LXXIII.
+
+[136] See Plate XVI.
+
+[137] These may be seen at Versailles.
+
+[138] These are exhibited in one of the rooms of the Petit Château.
+
+[139] See Plate LXXIV.
+
+[140] See Plate LXXVII.
+
+[141] See Plate LXXVIII.
+
+[142] There are several examples of Chantilly porcelain in the Victoria
+and Albert Museum.
+
+[143] See Plate LXXIX.
+
+       *       *       *       *       *
+
+Typographical errors corrected by the etext transcriber:
+
+Revue de l'Art Ancienne et Moderne=> Revue de l'Art Ancien et Moderne
+{pg xxvi}
+
+Les Quarante Fouquets=> Les Quarante Fouquet {pg xxvi}
+
+Les Le Manniers, Peintres=> Les Le Mannier, Peintres {pg xxvii}
+
+Les Clouets, Peintres officiels des Rois de France=> Les Clouet,
+Peintres officiels des Rois de France {pg xxvii}
+
+portraist of, 137, 266, 267=> portraits of, 137, 266, 267 {pg 298}
+
+Paremont de Narbonne=> Parement de Narbonne {pg 299}
+
+in Tres Riches Heures=> in Très Riches Heures {pg 305}
+
+Horus of Turin=> Hours of Turin {pg 165 n.}
+
+the the teacher of St. Paul.=> the teacher of St. Paul. {pg 192}
+
+
+
+
+
+
+
+End of Project Gutenberg's Chantilly in History and Art, by Louise M. Richter
+
+*** END OF THE PROJECT GUTENBERG EBOOK 44334 ***
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