I C HAN TILLY IN mSTC'v '^¦^ ART :-.:J": DoRRiEO (P.). Chantilly. les tr^s riches Heures de Jean de France, due de Berry. (16x12) Paris (Plon). 65 plates, I in colour. Yale Center for British Art and British Studies CHANTILLY I III/-// I itiiart ¦-1/ i. iliiiij-i -,,,,.,,,, II,,.. II, ,,.,.,¦ i:,.,,.i,-- „i (,'i,„„/.i//„ CHANTILLY IN HISTORY AND ART BY LOUISE M. RICHTER (MRS. J. P. richter) WITH PORTRAITS AND ILLUSTRATIONS LONDON JOHN MURRAY, ALBEMARLE STREET, W. All Rights Reserved TO MY DEAR FRIEND MRS. LUDWIG MOND THIS BOOK IS DEDICATED a* PREFACE My first visit to Chantilly was in April 1904, when the Exhibition of the French Primitives at the Pavilion Marsan, following close on that at Bruges, raised interest and comment far outside the boundaries of France. I visited the Musde Conde 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 Chateau 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 Mus6e Cond^, 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 viii PREFACE 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 Chateau 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 repre sentations 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 con ceived 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 Due d'Aumale so successfully collected. To the Italian and the Northern Schools and the later French periods at the Mus6e Condd I have purposely given but a passing mention, since PREFACE IX 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 J^hillips, 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 grourid'"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 ^^/JLOodr-v/^ose 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. Lo'ndon, October 1913. CONTENTS P.\GB 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-Chateau ; 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 CONDfiS The origin of the Condes ; their adherence to the Protestant Faith ; Eleonore de Roy, Princesse de Cond6, a staunch Huguenot ; the two brothers, Antoine de Navarre and Louis I de Bourbon Conde ; Catherine de Medicis sides with Conde in order to counterbalance the ascendancy of the Guises ; she succeeds in estranging him from his wife ; severe censure of Calvin ; prema ture death of the Prince de Conde ; his son Henri de Bourbon succeeds to the title ; he sends all his family jewels to Queen EUzabeth to help the Huguenot cause ; Charlotte de la Tre- moiUe 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 xii CONTENTS CHAPTER III THE GRAND C0ND£ PAGB The Due d'Enghien; his mariage de convena^rwe 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 Conde ; his victories at Fribourg, Nordlingen, and Lens ; he puts down the Fronde and brings the boy- king Louis XIV back to Paris ....... 33 CHAPTER IV CLAIRE-CLEMENCE, PRINCESSE DE CONDfi The enmity between Mazarin and Conde ; the latter and his brother Conti are arrested ; the com-ageous 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 Conde ; 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 di66culties arise ; Conde's alliance with Spain ; he leaves France and goes over to the enemy ......... 47 CHAPTER V CONDfi'S ALLIANCE WITH SPAIN Conde is defeated by Turenne at Dunkirk ; the Peace of the Pyrenees is signed ; Conde is reinstated in all his rights ; he returns to Chantilly and lives there in retirement ; Le Notre lays out the gardens and park; Conde invents a hydraulic machine to receive the waters of the Nonette ; Mansart arrives at Chan tilly and begins his alterations to the old feudal castle . 59 CHAPTER VI FESTIVITIES AT CHANTILLY The mantage of the Due d'Enghien with Anne of Bavaria ; Claire- Clemence is neglected by her husband ; her health breaks down ; a mysterious afiair ; she proclaims her innocence ; she is banished to the fortress of Chateauroux ; great festivities at Chantilly; Louis XIV and his Queen Maria Theresa visit Chantilly .......... 69 CONTENTS xiii CHAPTER VII THE GRAND CONDfi A WARRIOR ONCE MORE PAOS 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 Conde and Turenne to lead the French army; Conde conquers Franche-Comt6 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 Conde 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 ; Conde by his brilliant operations preserves Turenne's army and shuts out Montecucoli from Alsace, thus terminating this great campaign ; Madame de Sevigne, Bossuet, Corneille, Racine, and Moliere at Chantilly ; death of the Grand Conde . 78 CHAPTER VIII THE LAST CONDjfis 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 magnifi cently entertained ; the Prince de Conde 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 chatelaine of Chantilly is greatly admired by Louis XV ; he pays frequent visits to the Chateau ; 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'Orleans ; Marie Antoinette visits Chantilly as Dauphine ; the Comte and Comtesse du Nord at ChantiUy ; a famous hunting party ; Princesse Louise de Conde and the Marquis de Ger- vaisais ; an able speech in Parliament by the Due d'Enghien when only sixteen years of age ; the Revolution breaks out ; the Condes leave France ....... 89 xiv CONTENTS CHAPTER IX CHANTILLY DURING THE FRENCH REVOLUTION PAOB Chantilly deserted ; the Chateau devastated and used as a prison for political offenders ; the so-called Black Band razes the Grand Chateau to the ground ; Chantilly becomes State property under Napoleon ; the Prince de Conde head of the French emigres ; he and his regiment subsequently find refuge in Russia ; his arrival in England ; his simple home at Wan stead ; the tragic death of the Due d'Enghien ; the collapse of the French Empire ; the Prince de Conde returns to Chan tilly; herestores his ancestral mansion, and dies; the last of the Condes selects his nephew. Prince Henri d'Orl6ans, as his heir . io6 CHAPTER X THE DUC D'AUMALE AND LORD OF CHANTILLY The Due d'Aumale owner of Chantilly ; Chantilly the French Epsom ; the heir of the Condes 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 Conde ; Louis-Philippe pays a visit to Chantilly ; the Duke takes the command of the French Army in Algeria ; the Due 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 Due de Guise, his only sur viving son ; the architect Daumet undertakes to rebuild the Grand Chateau ; 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 Due 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 CONTENTS XV SECOND PART THE MUSEE CONDE CHAPTER XI THE ART TREASURES OF THE MUSfiE CONDE PAGE The Due d'Aumale joins the ranks of the great European col lectors ; his pronounced taste as a bibliophile ; he purchases the Standish Library ini85i ; the Tris Riches Heures du Due de Berr'y 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'OrUans ; the Sutherland collection of French drawings is purchased ; the portrait ol Antoine de Bourgogne ; the Carmontelle Collection is added ; the Reiset Collection of paintings acquired ; Victor Hugo ad dresses a letter to the Due 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 draw ings are acquired from Lord Carlisle ; the Due 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 Due de Berry mentions Pol de Limbourg and his brothers as the authors of the Tris Riches Heures ; Fouquet mentioned by Fraufois Robertet, Secretary to Pierre de Beaujeu Due de Bourgogne ; the Cabinet des Livres of the Due d'Aumale ; the Psalter of Queen Ingeburge ; the Breviary ol Jeanne d'Evreux ; the Tris Riches Heures du Due de Berry discovered at a villa near Genoa . . . . . . • • '154 xvi CONTENTS CHAPTER XIII THE TRES RICHES HEURES DU DUC DE BERRY PAGB 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 Duo 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 ; Fou quet 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 ChantiUy and in the MS. of the Antiquitafes Judceorum ; his strong individu ality ; his sense of humour and other characteristics . .179 CHAPTER XV JEAN PERRfiAL AND BOURDICHON 3ourdichon'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 ; Perreal painter to the Due Pierre de Bourbon; studies Fouquet's work at Moulins; the miniatures of the MS. of St. Michel in the BibUothSque Nationale attributed to Perreal by Durrieu ; afi&nity between the angels in the MS. and those in the triptych at MouUns ; why the original drawings of the Preux de Marignan are Ukely to be by Jean Perreal rather than by Jean Clouet ; the hand writing of Perreal identified on the back of a drawing attri buted to him ; the Tournois tapestries ; Perrdal mentioned in the Royal Accounts as Architect and Sculptor ; his medals representing Louis XII and Anne de Bretagne in the Metro politan Museum, New York, and in the Wallace Collection . 196 CONTENTS xvu CHAPTER XVI JEAN CLOUET PAGE Migrates to France ; settles at Tours ; marries Jeanne Boucault ; his portrait of Oronce FinS exists only in an engraving ; his craftsmanship of a more elaborate nature than that of Perreal ; the Due de Guise and the unknown man at Hampton Court ; his portrait of Francis I in the Louvre ; Queen Claude and her sister RenSe ; numerous drawings to be attributed to Jean Clouet; his characteristics . . . . .211 CHAPTER XVII FRANq:OIS CLOUET AND HIS FOLLOWERS Favoured by Francis I ; he adheres at first to parental teach ing ; Mary Stuart in her girlhood by Germain le Mannier ; Mary Stuart as Dauphine and as Queen of France ; Francis II ; Charles IX by Fran9ois Clouet; his exquisite drawing of Mar got 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 Francois ; Jean de Court court-painter to Henri III ; Carron and the brothers Lagneau ; Daniel Du- moustier ; his portrait of Henri, Due de Guise ; the Quesnels, court-painters to the first Bourbon Kings ; the painting of Gabrielle d'Estrees and her two sons at ChantiUy . . 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 Moliire ; the portrait of Louis XIV by Rigaud ; Largillidre and his portrait of a friend of the Condes ; he painted Liselotte as a Naiad; the Princesse de Condi, wife of Louis Joseph, by Nattier ; Desportes and Gudry ; a copy by Boucher of a portrait of Watteau by himself ; the relations between h xviii CONTENTS PAGE 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 CondSs by Fragonard ; Ingres ; Delaroche and Eugene 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 Barbi- zon School ; the tomb of the Due d'Aumale by Dubois . 248 INDEX 279 LIST OF PLATES I. II. III. IV. V. VI. VII. VIII. IX. X. XI. XII. Mary Stuart in her girlhood Germain le Mannier, Musie Conde. Guillaume de Montmorency Attributed to Perrlal, Musie Condi. The ChAteau de Chantilly . Anne de Montmorency Francois Clouet, Musee Condi. Henri II de Bourbon, Prince de Conde School oi Franqois Clouet, Musie Condi. Genevieve de Bourbon Beaubrun, Musie Condi. Antoine de Bourbon .... Charlotte de la Tremoille School of Francois Clouet, Musie Condi. Louis I de Bourbon, Prince de Conde Henri I de Bourbon, Prince de Conde School of Francois Clouet, Musie Condi. Francis II ..... . Francois Clouet, BibUothlque Nationale. Jeanne d'Albret, Queen of Navarre . Francois Clouet, Musie Condi. Catherine de Medicis .... Attributed to Corneille de Lyon, Musie Condi. Henri II ..... . Francois Clouet, Biblothique Nationale. Frontispiece PACING PAGE 4 The Grand Conde .... David Teniers, Musie Condi. The Virgin as Protector of the Human Race E. Charonton and Vilatte, Musie Condi. The Tomb of the Due and Duchesse de Bretagne in the Cathedral at Nantes Executed after Designs by Perrial. XIII. Chantilly before 1687 1616 18 18 2626 36 42 4250 XX LIST OF PLATES PLATE FACING PAGE XIII. Chantilly in the Time of the Grand Conde . . 50 XIV. Antoine de Bourgogne, called Le Grand Batard . 62 Memling, Musie Condi. XV. Moliere 84 Mignard, Musie Condi. XVI. Charlotte de Rohan Soubise, Princesse de Conde 96 Nattier, Musie Condi. XVII. Louis Joseph de Bourbon, Prince de Cond:£ . . 104 Madame de Tott, Musie Condi. XVIII. Louis Henri Joseph DE Bourbon, LAST Prince de Conde 114 Danloux, Musie Condi. XIX. Henri d'Orleans, Dug d'Aumale .... 124 Lion Bonnat, Musie Condi. XX. The "Minerva" of Chantilly Greek Bronze, Musie Condi. XXI. The "Madonna" of the House of Orleans Raphael, Musie Condi. XXII. A Game of Chess ..... Carmontelle, Musie Condi. XXIII. The Mystic Marriage of St. Francis Sassetta, Musie Condi. Portrait of Simonetta Vespucci Piero di Cosimo, Musie Condi. XXIV. The Three Graces ..... Raphael, Musie Condi. XXV. The Story of Esther .... School of Sandro Botticelli, Musie Condi. XXVI. The " Tres Riches Heures du Due de Berry " : Plan of Rome ....... 152 Pol de Limbourg and his Brothers, Musie Condi. XXVII. The " Tres Riches Heures du Due de Berry " : January ........ 154 Pol de Limbourg, Musie Condi. XXVIII. The " Tres Riches Heures du Due de Berry " : February ........ 156 Pol de Limbourg, Musie Condi. XXIX. The "Tres Riches Heures du Due de Berry"; April 158 Pol de Limbourg, Musie Condi. XXX. The " Tres Riches Heures du Due de Berry " : May .'160 Pol dc Limbourg, Musie Condi. 136140144 146 146 148 150 LIST OF PLATES XXI PIATB FACING PAGB XXXI. The "Tres Riches Heures du Due de Berry": June 162 Pol de Limbourg, Musie Condi. XXXII. The " Tres Riches Heures du Dug de Berry " : July 164 Pol de Limbourg, Musie Condi. XXXIII. The "Tres Riches Heures du Due de Berry": August ........ 166 Pol de Limbourg, Musie Condi. XXXIV. The " Tres Riches Heures du Due de Berry " : October ........ 168 Pol de Limbourg, Musie Condi. XXXV. The " Tres Riches Heures du Due de Berry " : December ........ 170 Pol de Limbourg, Musie Condi. XXXVI. The " Tres Riches Heures du Due de Berry " : The Zodiac . . . . . . .172 P9I de Limbourg and his Brothers, Musie Conde. XXXVII. The " Tres Riches Heures du Due de Berry " : The Procession of the Magi . . . .174 Pol de Limbourg and his Brothers, Musie Condi. XXXVIII. The " Tr^s Riches Heures du Due de Berry " : The Fall of the Rebel Angels . . .176 Pol de Limbourg and his Brothers, Musie Condi. XXXIX. The "Tres Riches Heures du Dug de Berry": The Coronation of the Virgin . . .178 Pol de Limbourg and his Brothers, Musie Condi. XL. Etienne Chevalier and his Patron Saint . .180 Jean Fouquet, Musie Condi. XLI. The Virgin with the Infant Christ . . . 181 Jean Fouquet, Musie Condi. XLII. The Marriage of the Virgin .... 182 Jean Fouquet, Musie Condi. XLIII. The Annunciation ...... 184 Jean Fouquet, Musie Condi. XLIV. The Visitation 186 Jean Fouquet, Musie Condi. XLV. The Birth of St. John the Baptist . . . 188 Jean Fouquet, Musie CoruU. XLVI. The Adoration of the Magi .... 190 Jean Fouquet, Musie Condi. XLVII. The Ascension 192 Jean Fouquet, Musie Condi. b* xxn LIST OF PLATES PLATE XLVIII. XLIX. LI. LII. LIII. LIV. LV. LVI. LVII. All Saints' Day ..... Jean Fouquet, Musie Condi. Seigneur de la Palisse .... Comte de Ligny ..... Attributed to Perrial, Musie Condi. Erasmus ....... Just de Tournon ..... Attributed to Perrial, Musie Condi. Francis I ..... Perrial, Musie Condi. Miniatures of Francis I and Cesar After Perrial, British Museum. Louis XII ...... Odet de Foix ...... Attributed io Perrial, Musie Condi. Medals of Louis XII and Anne of Brittany After Designs by Perrial, Victoria aad Albert Museum. Medal of Jean Clouet Victoria and Albert Museum. The Dauphin Francois Jean Clouet, Antwerp. Monsieur de Nevers Jean Clouet, Musie Condi. Due DE Guise . Jean Clouet, Musie Condi. FACisa PAGE • 194 . 202 202 204 204 206 206 208 208 Francis I . . . Jean Clouet, Louvre. Queen Claude of France Attributed to Perrial, Musie Condi. „ R]£nee DE France, Duchess of Ferrara Attributed to J. Clouet, Musie Condi. LVIII. The Dauphin Francois Henri d'Orleans .... Jean Clouet, Musie Condi. LIX. Madame Vendome d'Alencon . ,, Jeanne Boucault .... Jean Clouet, Musie Condi. LX. Madame l'Estrange Jean Clouet, Musie Condi. 212214 214216 218218 220220 222 222 224 LIST OF PLATES xxiii '''-*'™ FACING PAGE LXI. Jeanne d'Albret in her Girlhood . . . 226 Jean Clouet, Musie Condi. Madame Marguerite, sister of Henri II . . 226 Attributed to Francois Clouet, Musie Condi. LXII. Francis I ........ 228 Jean Clouet, Louvre. ,, Marguerite, Queen of Navarre, sister of Francis I. 228 Attributed to Francois Clouet, Musie Condi. LXIII. Charles IX . 230 Francois Clouet, Vienna. LXIV. Mary Stuart as Queen of France . . . 232 Francois Clouet, Bibliothique Nationale, LXV. Elisabeth of Austria, Queen of France . . .234 Francois Clouet, Bibliothique Nationale. JOSSINE PiSSELEU ....... 234 Francis Clouet, Musie Condi. LXVI. Pierre Quthe ........ 236 ' Francois Clouet, Louvre. LXVII. Margot of France ....... 238 Fraruois Clouet, Musie Coruli. LXVIII. Diane de Poitiers ....... 240 Franfois Clouet, Musie Condi. LXIX. Mary Tudor ........ 242 Copy after Perrial, Musie Condi. ,, Madame de Bouillon ...... 242 Attributed to J. Clouet, Musie Condi. LXX. The Dauphin Francois at the Age of Twenty . 244 Corneille de Lyon, Musie Condi. LXXI. Henri de Guise 246 Dumoustier, Musie Condi. ,, Marechal de Vielville ...... 246 Franeois Clouet, British Museum. LXXII. Daphne metamorphosed into a Laurel Tree . . 250 Nicolas Poussin, Musie Condi. LXXIII. Louise-Henriette de Bourbon Conti . . . 254 /. M. Nattier, Musie Condi. „ A Friend of the Condes ..... 254 Lurgilliire, Musie Condi. XXIV LIST OF PLATES PLATE LXXIV. Joseph and Potiphar's Wife Prud'hon, Musie Condi. FACISG PAGE . . 258 »f The Guitar Player .... Watteau, Musie Condi. . 258 LXXV. Young Girl ...... Greuze, Musie Condi. . 262 LXXVI. Arab Chiefs Hawking in the Desert . Eugine Fromentin, Musie Condi, . 272 LXXVII. The Grenadiers at Eylau . . Ditaille, Musie Condi. • 274 LXXVIII. Concert Champetre . . , . Corot, Musie Condi. . 276 LXXIX. Tomb of the Due d'Aumale . p. Dubois, in the Cathedral at Dreux ; cast at Chantilly, . . 278 AUTHORITIES CONSULTED Due d'Aumale : Histoire des Princes de Conde pendant le XVI et le XVII siecle. 7 vols. Paris : Caiman Levy, ^diteur ; Recueil Anglais Philohiblon 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 Franfais, Librairie de I'Art Ancien et Moderne. Les Clouets et Corneille de Lyon, Series " Artistes Celebres." 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 Due de Berry, Gazette des Beaux Arts, 1884. Le Cabinet des Livres au Chateau de Chantilly, Revue de I'Art. Ancien et Moderne, 1900. Les Heures du Connetable de Montmorency, etc. xxvi AUTHORITIES CONSULTED Dilke, Lady : French Painters of the Eighteenth Century. French Engravers and Draughtsmen. George Bell & Sons. Dimier, Louis : French Paintings in the Sixteenth Century, London : Duck worth & Co. Durrieu, Count Paul : Heures de Turin avec 45 feuillets ci Peintures des " Tres Belles Heures." Paris : 1902. Les Debuts de Van Eyck, Gazette des Beaux Arts, 1903. Les Aventures de deux Splendides Livres d'Heures ayant ap- partenu au due Jean de Berry, Revue de I'Art Ancienne et Moderne, 1911. Friedlander, Max : Die Votivtafel des Etienne Chevalier von Fouquet, Jahrhuch der Konigl. Preussischen Kunstsammlungen, 1896. Die Brugger Leihaustellung, Repertorium fiir Kunstii)issenschaft. Fry, Roger : The Exhibition of French Primitives, Burlington Magazine, 1904. French Painting in the Middle Ages, Qriarterl'y Review, 1904. English Illuminated MSS. at the Burlington Fine Arts Club, 1908. Gruyer, Anatole : La Peinture au Chateau de Chantilly. Les Quarante Fouquets. Laborde, Marquis Leon : Renaissance des Arts a la Cour de France. Les dues de Bourgogne. Etudes sur les Lettres, les Arts et I'lndustrie pendant le XV Siecle. Lafenestre, George : Les Primitifs a Bruges et a Paris, 1900, 1902, X904, Librairie de I'Art Ancien et Moderne. Jehan Fouquet, " Les Artistes de tons les temps." Series B. Macon, Gustave : Chateau de Chantilly et le Pare, Revue de I' Art Ancien et Moderne. Chantilly et le Musee Conde, Librairie Renouard. Mantz, Paul : La Peinture Franfaise du IX Siecle a la fin du XVI ; Alcide Picard and Kaan, editeur. Maulde, de la Claviere : Jean Perreal; Ernest Leroux, editeurs. AUTHORITIES CONSULTED xxvii Moreau-Nelaton, Etienne : Les Le Manniers, Peintres officiels k la cour des Valois, Gazette des Beaux Arts, 1901. Les Clouets, Peintres officiels des Rois de France. Le Portrait a la cour des Valois et les Crayons frangais du i6ieme siecle conserves au Musee Cond6 i Chantilly, Librairie des Beaux Arts, rue Lafayette. Nolhac, Pierre de, et Andre Perate : Le Musde National de Versailles ; Braun, Clement & Co. Phillips, Sir Claude : Impressions of the Bruges Exhibition, Fortnightly Review. Masterpieces of French Art in the Eighteenth Century in Pos session 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 Condes. Methuen & Co. FIRST PART CHANTILLY AND ITS HISTORY CHAPTER I chantilly and its owners The Montmorencys The Chateau of Chantilly, now known as the Mus^e Condd, the magnificent gift so generously bequeathed to the French nation by the late Due 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 oiBouteillers, 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. 4 CHANTILLY AND ITS OWNERS 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 obscu rity 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 Condds, a younger branch of the Bour bons; and later still, by the marriage of the last Prince deCondd with Princesse Bathilde d'Orleans, and the tragic death of their only son, the Due d'Enghien, Chantilly passed into the possession of its last private owner. Prince Henri d'Orldans, Due 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. Guillaume, son of Jean de Montmorency, who married the heiress of Chantilly, joined inan expedi tion 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 Plate II. m.. ^s .:'.^ 'i Photo. Giniudon, GUILLAUME DE MONTMORENCY. Attributed to J. Perreal. Musee Conde. r,i faa fag;: TASTE OF ANNE DE MONTMORENCY 5 Musde Conde. He it was who, in 1515, con structed the Chapel of the Chateau, 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 Conndtable. Queen Anne of Brit tany held him at the baptismal font, conferring upon him her own name, and he was educated with the Due d'Angoul6me, afterwards King Francis I. Anne de Montmorency in early youth distin guished 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 forti fications and the stately towers of the Orgemonts, he succeeded in introducing more light into the mediaeval 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 Condds until it reached the fame which it enjoyed under its latest owner, the Due d'Aumale. Under the Grand Conn^table'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, 6 CHANTILLY AND ITS OWNERS 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 Im perial troops in Picardy, and it was upon this occa sion 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 Connetable 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-Chateau, 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-Chateau at Chantilly, for the style of its architecture marks the w THE PETIT-CHATEAU 7 transition between the mediaeval Gothic and the period of the French Renaissance, and ranks it with buildings such as the chateaux of Chambord, Chenonceaux, d'Azay le Rideau, and Langeais.^ This style, according to Violet-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 con ventional and offers less regularity of style in its building. It is a style that reached its climax in the chateaux 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-Chateau 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 Chiteau 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 '- This last-named castle has also been bequeathed to the French nation by its owner. 8 CHANTILLY AND ITS OWNERS supposition that Jean Bullant, who was in constant relation with Pierre des lies, known as " Mafon " 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 Cond^. In 1562 he won the battle of Dreux against Conde 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 15 14, as a Preux de Marignan, down to his old age. There also exists a drawing of his wife Madeleine de Savoie. By a fortunate coinci dence 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 child ren executed by Bardon after still-existing cartoons by Lechevallier Chevignard. In order to complete the family the Due d'xA-umale commissioned the artist (^ / /*-'s PUi)tn. (^iiuudon. LOUIS 1 DE BOURBON, PRINCE DE CONDE. School of P'raiiv'ois Clnui^t. Flmto. GiTaudon, HENRI I. DE BOURBON, PRINCE EE CONDE. School of Francois Clouet. COND^ FREE AT LAST 19 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, gela nous apprend a vivre." The death of Francis II opened Condd'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 Condd to her Court through the charms of one of her Court ladies — the beautiful Isabelle de Limeuil — in order to make him an in.strument for her own purposes. Brantdme, 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 Mardchal de Saint-Andrd, from whom he accepted the magnificent chateau of Valery, with its vast appanage, originally intended as a dowry for Mademoiselle de Saint-Andrd, the affianced bride of his own son Henri I de Bourbon, who had died young, poisoned, it is said, by her mother. Condd's irregular habits called for the severe re buke of Calvin, and his noble wife Eleonore was broken-hearted over them. Antoine, King of Navarre, the eldest ol the 20 CHANTILLY AND THE CONDES 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 Condd 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 for gave 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 Condd after her death. The intriguing Catherine, after much wavering, then declared herself upon the Catholic side, and compelled Michel de I'Hopital, who had tried to re concile the two parties, to resign. The consequence of this decision was the bloody battle of Jarnac, where Condd died the death of a hero. No one could /-s^-- Plate VIII. / ¦- -'^^ 't. "S-iiK. .? "^¦^^S^iW- -r^ Photo. Giraudnn. V^ FRANCOIS II. KING OF FRANCE. Frani^ols Clouet. Bibl. Nat, Paris. HENRI DE BEARN & HENRI DE BOURBON 21 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 ! ^ Henri I de Bourbon ^ succeeded his father as Prince de Condd, 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 Bdarn, together with his cousin the young Prince de Condd. 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 Condd 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 Condd Prince, to whom he deputed the command in his absence. 1 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." 2 See Plate VII. 22 CHANTILLY AND THE CONDES It is indeed remarkable that so fervent a Calvinist as Jeanne d'Albret should have con sented to the engagement of her son to Margot de France, youngest daughter of Catherine de Medicis. It is true that the horrors of St. Bar tholomew 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 Condd and Marie de Cleve, daughter of the Due 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 Due d'Anjou (afterwards King Henri III) was madly in love with her. The marriage of the Prince de Condd 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 am bitious woman, who actually planned the carnage of St. Bartholomew on the eve of her own -c^V pauain. Plate IX. 4i?9^ ,,^'^--. Photo. Giraudon. JEANNE D'ALBRET, QUEEN OF NAVARRE. Frangois Clouet. Musee Conde. THE MASS, DEATH, OR THE BASTILLE 23 daughter's marriage to the chief of the Huguenot party. It does not enter into our present work to de scribe 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 Condd and of the King of Navarre were only spared on the condition that they abjured the Protestant Faith. Condd, however, at first per sisted 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 Condd 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 Condd and his bride the nuptial benediction in the church of St. Germain des Prds. But this was not enough ; for both Navarre and Condd were forced to fight against those very Huguenots whose leaders they had been ; and they were compelled to march under the command of the Due d'Anjou against that same La Rochelle where Condd had passed so many years with his 24 CHANTILLY AND THE CONDES noble friend Gaspard de Coligny, engaged in furthering the Protestant cause. In 1574, however, upon the death of Charles IX, Condd and Henri of Navarre again joined the Protestant forces. Not so Marie de Cleve, who was even trying to make this a plea for a separa tion when she died suddenly in giving birth to a daughter.^ Twelve years later Condd contracted another marriage, with Charlotte Catherine de la Trdmoille. We propose in this brief sketch of the Condd family, who eventually became Lords of Chantilly, to say something also regarding the lives of the Princesses de Condd, since some of them rank amongst the most noble and interesting women of their time. Charlotte de la Trdmoille^ was the daughter of the Due 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. Condd, presented by her brother, the young Due de Thouars, whilst he chanced to be in the neighbour hood, paid a visit to the young lady ; and although of the opposite party — for the Trdmoilles 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 seven teen years of age, whilst Conde was by that time 1 According to Brantome, the Due d'Anjou was inconsolable after her death and for a long time wore deepest mourning for her. 2 See Plate VI. CONDE HIDING IN GUERNSEY 25 thirty- three, but without an heir to his name. He had a fine head and well-cut features ; his ex pression was pensive, and betrayed a delicate and nervous constitution. The fact ofhis being a Prince of the Blood Royal and of illustrious lineage .stimu lated, no doubt, Mademoiselle de la Trdmoille's poetic imagination. When, after the disaster of Angera, Condd 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 Trdmoille begging him to make use of these, her ships. Condd, 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 Chateau 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 Condd, named Eleonore after her noble grandmother, who subse quently 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 26 CHANTILLY AND THE CONDES Condd. The first battle was fought at Coutras, between the Due de Joyeuse, who commanded 7,000 men for Henri III, and the joint forces of Henri of Navarre and Henri de Condd, 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 ites de la maison de Bourbon. Vive Dieu ! Je vous ferai voir que je suis voire aind!" " Et nous, vous montrerons des bons cadets" replied Condd. But Due 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 Chiteau 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 death bed, was horrified at her son's treachery towards the Guises, who had fought so ably for the Catholic cause. " Vous avez fait mourir le due de Guise!" she exclaimed ; " Dieu veuille que vous vous trouviez bien de taction que vous venez de faire. Mais vous ne pouvez, je crois, vous en felicitez. Ce nest pas tout de tailler, il faut savoir coudre." te- I. I <\f isf./ i , / 4. I p I •«*•: '•" ,,^''' >#>,-, -.-„M ) t^ e^ :-,:^^ CATHi-lRINE DE MEDICIS. .¦MtnbuU'il I" C.inirlUe de Lyon. ¦- = V' if '¦¦5-^ /Ji-"'*) — \ '"^^ ^ "^ ' ~ .3 '^^^ i^iPW^ fe'' r '^ "i' i /' ^ '' . «', ,/j ^rmi.o ,„.¦, i'.^'n HENRI II. Fi;uit,')is Cioni'l. Bibl. X.il, Paris. /,. 1,1, r t'li.r -' MURDER OF THE TWO GUISES 27 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, ad dressing 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 Bour bon, King of Navarre, as lineal descendant of Robert dc Clermont, sixth son of Saint Louis ; whilst Henri de Bourbon Condd, 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 Chateau de Saint -Jean d'Angely, thus describes his unex pected 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, 28 CHANTILLY AND THE CONDES 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 Condd'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 Conde ayant couru la bagoc, il soupa se portant bien. A minuit lui prit un vomissement trbs violent, qui luy dura jusqu att 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. II se leva, se mit a promener par sa chambre, devisant avec fun et avec f autre. Tant dun coup il dit : ' Baillez moi 7na chaise, je sens une grande faiblesse! II ny fut assis quit perdit sa parole, et soudain apr^s il rendit I dme, et les marques du poison sortirent soudainement ." C0ND6 HEIR TO THE THRONE 29 When Brillant was interrogated, he denied everything, but under torture he made admissions which greatly compromised the widow of the dead Condd. 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 Condd ; and the fact that Henri ulti mately 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 30 CHANTILLY AND THE CONORS throne until it should please God to give children to the King himself. Henri IV displayed consider able 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 Condd as Hu guenot Princes was abruptly broken ; and Char lotte Catherine de la Trdmoille 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 Condd 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 protec tion of Eleonore, Princess of Orange, until the death of the King.^ 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 ^ See p. iQ et seq. CHARLOTTE SHARES IMPRISONMENT 31 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 ^ of that time states that the meeting of the Princess with her unfortunate husband was most affectionate, and that he repent antly asked her forgiveness for past wrongs. Owing to his precarious state of health he was soon after removed to the Chiteau 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 des paired of. At last, after nearly three years of imprisonment when her little daughter Genevidve de Bourbon was born, their prison-walls opened and they were free at last. But presently Henri de Montmorency, the Prin cess'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 ^ Journal historique et anecdote de la Cour et de Paris. 32 CHANTILLY AND THE CONDES 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 confis cated after his execution, and Chantilly fell to the Crown. A house called La Cabotitre, 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 Thdophile de Viau, who had been condemned to death ; and from this retreat he sang in charming verses the beauty and the noble qualities ofthe Princess under the name of " Sylvie." These cruelties against the Montmorencys and the Condds, 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 Condd, 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 CONDE With Charlotte, wife of Prince Henri II de Condd, Chantilly passed into the possession of the Princes of Bourbon Condd, 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 Trdmoille, the Dowager Princess de Condd, 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 com mended his clear intellect and excellent memory. He received the title of " Due d'Enghien," a title which became thereafter hereditary in the Condd family. His father. Prince Henri II de Condd, thought it wise, after the execution of his brother-in-law 3 " 34 THE GRAND CONDE Henri de Montmorency and his own imprisonment, to contract a matrimonial alliance with the all- powerful Cardinal ; especially as Richelieu was ob sessed by the desire that one of his nieces should become a Royal Princess. A marriage was there fore arranged between the twelve-year-old Due 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 Condd" ^ 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, Genevidve de Bourbon ^ (subse quently 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 Due d'Enghien, was recorded with great glee by the Grande Mademoiselle, daughter of Gaston d'Orldans. The prospects of this new establishment were not exactly promising, since Claire-Clemence 1 Octave Homberg et Fernand Jousselin. 2 See Plate V. CLAIRE-CLEMENCE 35 received no support from her parents, whom she hardly knew. When her uncle, the Cardinal, de cided to make an instrument of her to serve his purposes, he took her away from her egoistical and immoral father, the Mardchal de Brdzd, 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 super intended arrangements by which she and her princely husband should have a suitable establish ment in Paris ; where, it was said, the young couple led un train de Prince. Presently, however, the sharp-eyed Cardinal be came aware that the Due 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 ar ranged 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 Douaridre de Condd, Madame d'Aiguillon, Madame de Longue ville, and Mademoiselle de la Croix. This last was 36 THE GRAND CONDE 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. Meanwhile the Due d'Enghien, to annoy the Cardinal, led a very gay life in Burgundy, in ob stinate 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 Due d'Enghien, inordi nately 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 ofthe Blood Royal. But that Mazarin, just created Cardinal, should on his return from Italy also have this privilege was — the young Due d'Enghien thought — most im proper. 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 prece dence 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 PLATE XI. THE GRAND CONDE. .MiiSi'e Condt-. IJavid Teniers. 36] DUC D'ENGHIEN ELECTED GENERAL 37 to purge his fault at Lyons, on his way back. D'Enghien, compelled by his father, the Prince de Condd, to submit to Richelieu's demand, was greatly chagrined. Moreover, a message reached him im mediately 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 Condd 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, LouisXIII, 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 Condd 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 3* 38 THE GRAND CONDE remarkable minister in finding the right man for the right place. Turenne was thirty-one years of age, whilst Condd was but twenty-one. Marie de Medicis and her party thought Condd too young for so important a post, but Louis XIII was not to be dissuaded ; and to Condd 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 i^ was carried on with great ardour by the Spaniards under their General, Don Francisco Melo, and his lieutenants. Fountain and Beck. With them the Due 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 morn ing. On hearing this Condd at once called for his horse, his arms, and the traditional hat with the white plume, which, since the time of Henri IV, had be come the special badge of a Commander-in-chief of the French Army. The Due d'Aumale, in his " Histoire des Princes de Condd" relates with much spirit the issue of this battle. He tells us how THE VICTOR OF ROCROY 39 Condd 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 Condd (father ofthe Due 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 Due d'Enghien, had gained the battle of Rocroy, and from that time he bore the name of the " Grand Condd." 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 de sired 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 Condds, and the Due 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 40 THE GRAND CONDE 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 charac teristic 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. Condd, 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 Nordlingen,^ where he completely defeated the Austro-Spanish general Mercy. The Due d'Aumale, a military man of great distinction himself, speaks of the three victorious battles of Rocroy, Thionville, and Notdlingen as most important in their results, unblemished by any sort of reverse. He attributes to the Grand Condd all the qualities necessary for a great 1 Called in Germany " AUerheim " to distinguish it from the battle of Nordlingen, where the Archduke Ferdinand was victorious over Bernard of Weimar in 1434. CONDE RETIRES TO CHANTILLY 41 general : foresight in his preparations and a supreme ability to vary his tactics according to circumstances ; great boldness and sudden inspira tion 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 Condd's equals we must look to men like Frederick the Great, Napoleon, and Wellington. After the battle of Nordlingen, Condd fell ill of a fever, which compelled him at length to return to Chantilly. His mother, the Princesse Charlotte de Condd, his sister Genevidve, and his wife Claire-Clemence, with her little son the Due 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 im paired strength. There he was invited to repose after the excessive fatigues of camp-life. The attraction Condd 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 aban doned 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 Con vent of the Carmelites. It was a marriage into which he had been forced — a fact that he could 42 THE GRAND CONDE 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 Condd 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 beau tiful cousin, Isabelle de Montmorency, who ex ercised 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. Two other well-known women also contrived to attract the Grand Condd, and with them he con tracted 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 Pholo Giraudon. THE VIRGIN AS PROTECTOR OF THE HUMAN RACE. Cliaroiilon and YiiaUe. THE TOMB OF THE DUC AND DUCHESSE DE BRETAGNE AT NANTES. Pholo Giyautlon. .After Designs bj- Pcrri5al. 42] DEATH OF HENRI II, PRINCE DE CONDE 43 Court at the H6tel Nevers, a majestic building between the Tours de Nesle and the Pont Neuf, which afterwards became the H6tel 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 Condd 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 bdnisse. Gudrissez vous, ou il vaut mieux vous poignarder vous mdme, que de faire la vie que vous faites ; je nen sais ni cause ni raison, et je prie Dieu de tne consoler ; je vous dcris au ddsespoir, et suis Monsieur voire bon p^re et ami." Soon afterwards the old Prince de Condd died and his last words and wishes were for the Due 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 Condd devolved at his father's death upon the Grand Condd, whilst the little Due d'Albret bore henceforth the title of Due d'Enghien, rendered so celebrated by the victor of Rocroy. But the Grand Condd 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 44 THE GRAND CONDE hour, took eight flags and thirty-eight cannon, and made 5,000 prisoners. The Emperor Ferdinand III, after this, felt his powers of resist ance at an end and decided at last to agree to the Peace of Westphalia, which was signed at Munster, 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 Condd to help him out of his difficulties. In order to improve finances exhausted by the lavish expenditure of the Court, Mazarin had com mitted 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 Detim 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 (subse quently known as Cardinal de Retz), at that time CONDE PUTS DOWN THE FRONDE 45 Archbishop of Paris, came in full state to en treat 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 Condd's own sister, the Duchesse de Bouillon, and others — all more or less vain women seeking notoriety. They endeavoured to gain Condd 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 neces sary preparations, and the young King and the Princesses de Condd, Charlotte de Montmorency, and Claire-Clemence, had to sleep on straw — an incident which Louis XIV never forgot. Condd, however, blockaded Paris, overthrew the Fronde, and on the evening of August 18, 1649 the young King with the Queen-Regent, Condd, and Mazarin entered Paris and reached 46 THE GRAND CONDE the Palais-Royal in safety. When Condd pre pared 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 CONDE Mazarin with difficulty restrained his impatience at numerous Royal favours bestowed on Condd. In deed, 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 Condd 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 Condd, 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 ex cuse for undermining the position of Condd and succeeded in making the Queen believe that the second Fronde, led on by Condd, was opposed to the Government. In order to counteract these false 47 48 CLAIRE-CLEMENCE, PRINCESSE DE CONDE 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 Prin cess), who had always been on terms of great intimacy with Anne of Austria, was then at her bedside. It was the last interview between Condd 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. Pre sently 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 Condd and the others, said, not however without embarrassment, " Gentle men, I have the Queen's orders to arrest you." Condd for a moment seemed thunderstruck. Was this her Majesty's gratitude for the victories he had gained against the enemies of France ? Then, see ing 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. Condd, his brother Conti, and M. de Longueville were MAZARIN CONDE'S IMPLACABLE ENEMY 49 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 Condd, with his wife the beautiful Charlotte, had been secluded for three years. The hour was past midnight when they reached the prison, and Condd 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 Condd at Chantilly, since Mazarin looked upon her as harmless. It was rather Condd'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 Condd 4 50 CLAIRE-CLEMENCE, PRINCESSE DE CONDE 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 indomit able courage on the part of Condd'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 Condd, Chantilly became the resort of a crowd of visitors, who flocked round its brilliant chdtelaine, Charlotte de Montmorency, Dowager Princesse de Condd. The young Due 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. Soon, however, the visits to the Chiteau of Lenet and of Madame de Chitillon, both of whom had played a prominent part in the Fronde, were reported at Court ; and one day the PLATE XIII. CatNTU-Lr CHANTILLY BEFORE I687. CHANTILLY IN THE TIME OF IHE GRAND CONDE. 50] THE ESCAPE OF CLAIRE-CLEMENCE 51 Princesses were suddenly surprised by the sight of Swiss guards stationed around their dwelling, and Monsieur de Vauldy simultaneously arrived at the Chiteau 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 Condd ; 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 Due 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 Condds, 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 obedi ence to the Royal commands, since she had been 52 CLAIRE-CLEMENCE, PRINCESSE DE CONDE desired to leave Chantilly. Anne of Austria took this communication good-humouredly enough, and admired the pluck of the young mother, whilst every body was amused at Vauldy's discomfiture. At Montroux the Princess soon found herself sur rounded by friends and partisans ; and she suc ceeded 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 Due de Bouillon came out to meet her. The Princess, mounted on a splendid charger named " Le Brdze" which had come from her father's stables, was received with Royal honours by Tu renne, who defrayed all her expenses and those of her escort as far as Bordeaux. Claire-Clemence and her supporters now de cided to attack Mazarin openly for having im prisoned 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, how ever, 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 grate ful to Condd for his kindness to them when, upon a previous occasion, they had revolted against their hated Governor, the Due d'Epdron. The CLAIRE-CLEMENCE AT BORDEAUX 53 Princesse de Condd 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 Bor- deaulese, 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 im ploringly, " 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 de prived 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 Condd with such injustice and violence, was afraid to set him free ; and he therefore even 4* 54 CLAIRE-CLEMENCE, PRINCESSE DE CONDE 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 Vin cennes 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 cortdge, 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 recog nise 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 Condd'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 Condd'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 consider able effect. CONDE IS SET AT LIBERTY 55 Meanwhile France was rent by civil war, and Anne of Austria began to regret the loss of Condd'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 Condd's liberation so imperative, that Mazarin was compelled to proceed to Havre with an order under the Queen-Regents 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 Condd 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 Condd, 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'Orldans 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 56 CLAIRE-CLEMENCE, PRINCESSE DE CONDE solemn session of the Parlement took place, and for several nights Paris was brilliantly illuminated. The young Princesse de Condd came from Mon troux, accompanied by the Dues 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: "Void une fetntne fort chkrie de son mari!' It testified to the sympathy held by the public for this long-neglected wife. From Paris the reunited pair proceeded to Chan tilly, where festivities and hunting-parties followed fast one upon another. Condd, however, felt bound to claim a certain amount of recompense for the great wrong which had been done to him. He de manded 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 Condd 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 CONDE BETRAYED BY HIS ENEMIES 57 d'Orldans would bring the Cardinal back from exile if Condd were once more arrested. Condd, 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. " // faut pousser M. le Prince " was a stock saying of Mazarin and Gondi (now Cardinal de Retz), both of whom were endeavouring to goad Condd to his own destruction. Louis II de Bourbon, Prince de Condd, along with his many great qualities, had unfortunately inherited also all the faults of the Condds — 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 ddplaisait ils poussaient les gens jusqu a la dernidre extremitd, et ils fietaient capable daucune 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 Condd proposed to fight, but against the Italian Cardinal, the trusted confi dant 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 Condd did not take part in any of the festive celebrations held at the King's 58 CLAIRE-CLEMENCE, PRINCESSE DE CONDE 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 Condd retired to Montroux, where his sister, Madame de Longue ville, and the leaders of his party triumphed over his last scruples. It was then that he pronounced the famous words : " Vous me forcez ^ tirer tepee, — eh bien ! soit ! mais souvenez vous que je serai le dernier a la remettre dans le fourreau!' CHAPTER V conde's alliance with SPAIN Conde'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 Revolu tion 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 Condd 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 Condd an ally rather than a chief. Nor did Condd, although a Prince of the Blood, and well known for his pride of birth, object to signing a Declaration before the Parlement of Bordeaux, 59 6o CONDE'S ALLIANCE WITH SPAIN whereby he promised not to lay down his arms until he had obtained for his country the following con cession, 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'Orldans and the Paris Parlement, declared Condd guilty of high treason. On hearing this the Prince made a des perate 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 Condd's brother CLAIRE-CLEMENCE IN DESPAIR 6i 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 Ormde, the head of the popular party and succeeded in bringing about a peaceful settlement. Shortly after this, on September 20, 1652, the Princesse de Condd 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 Condd's, wherein he writes as follows : "fai une extrd'me joie de I accouchement de ma fetnme ; elie ser ait parf aite si elie se port ait bien, et si j'dtais assurd son eiifant dttt 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 tribu lation Condd 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 62 CONDE'S ALLIANCE WITH SPAIN 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 Condd, 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. 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 Condd 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 Due 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 PLATE XIV. ANTOINE DE BOURGOGNE, CALLED LE GR.-IND B.-lf.iRD, pholo Braun & C,>. Muise Conde. Memliug A LOST BATTLE 63 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 Condd, 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 Condd's grave response. His pre diction was verified ; and Dunkirk was captured by the French, although Condd, with great skill, suc ceeded in limiting the extent of his rival's victory. The result of this battle was the famous 64 CONDfi'S ALLIANCE WITH SPAIN " Peace of the Pyrenees," signed at Miinster 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 con tract, arranged between Louis XIV and the Infanta Maria Theresa, which had far-reaching conse quences. Another stipulation made by Spain was that Condd 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 Genevidve de Bourbon the Grand Condd 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, Genevidve, on the death of her husband, the Due 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. Condd's letters, whereby he promised fidelity to the King and engaged to live on good terms with the Cardinal, preceded him. Madame de Longue ville 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 CONDE'S REGRETS 65 the Gazette de France announced that he had dined with His Eminence Cardinal Mazarin. That Condd 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 resi dence at Saint-Maur to meet Turenne, who appeared at first embarrassed on seeing him. Condd, how ever, at once addressed his rival in a most friendly manner, and asked his advice regarding the repatri ation 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 Condd and the Due d'Enghien appeared amongst the Royal retinue, whilst the Princesse de Condd sat in the State coach with the Queen. Yet, although established once more as a Prince of the Blood, with all the prerogatives and appur tenances of his rank — even his Government of Bur gundy — many years had still to pass before Condd 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 Condd. 5 66 CONDE'S ALLIANCE WITH SPAIN If Condd 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 Condd 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 Chateau at Chantilly. Here he almost immediately began to make ex tensive restorations, the completion of which occu pied 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 N6tre 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 Condd himself — who was as skilled an engineer as he was a soldier — was con structed by Le Manse, under whom all these wonderful waterworks were kept in order. The courtyard which forms the present entrance to the Chateau dates from that time. Letters have come down to us in which Condd CONDE'S RETURN TO CHANTILLY 67 expresses to Le N6tre the highest satisfaction with his work. The latter was quite overcome by the Prince's appreciation, and replied to him : " famais t Honneur que je receu dembraser nostre Saint Pere, le pape, et de baiser sa mule ne m' a fait tant de bien ny donne tant de joie que celle queje ressenty par la bontd que vous avez eu de me donner le benefice que voire A It esse a refusd a tant de testes couronnees. . . . fe continueray a eslever mes pensdes pour t 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 Chiteau ; the first floor being arranged for the use of the Grand Condd, whilst the ground floor was reserved for his son, the Due d'Enghien. The exterior of this exquisite building was fortunately left in tact, 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 Condd 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 Condd's own despatch- 68 CONDE'S ALLIANCE WITH SPAIN 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, Nordlingen, and Fribourg to the conquest of the Franche Comtd, 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 Orge monts and the mediaeval architecture which combined so well with Montmorency's Petit Chiteau, 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 Due d'Aumale. CHAPTER VI FESTIVITIES AT CHANTILLY Since there was no prospect for Condd 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 Due d'Enghien, Condd'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'Alen9on, youngest daughter of Gaston d'Orldans, a Princess whom Henri Jules often saw and greatly admired, for the Orldans family at that time lived in the sumptuous r* 69 70 FESTIVITIES AT CHANTILLY Palais d'Orldans, not far from the Palais Condd, which was built on the site now occupied by the Oddon Thdatre. 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 Condd, 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 constitu tion 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 Condd's letters that she suffered from violent fits of passion, and that a secret fear lest he should make away with her be came more and more a fixed idea. It is said, how ever, that when she appeared at the baptism of the Dauphin her attitude was full of dignity and com manded involuntary respect. Two years after this .an unfortunate incident happened, never entirely THE PAGE DUVAL 71 explained, which reduced Claire-Clemence to im prisonment for the rest of her life. Condd 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 hear ing the noise, rushed into the apartment. Her Highness was found unconscious on the floor. This was the version put about in Paris ; but Condd, on being informed of it, was beside himself with rage, and caused Duval to be arrested and condemned to the gallows. Condd, 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 Condd 72 FESTIVITIES AT CHANTILLY 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 pro posed to induce her to retire altogether from the world without offering any defence. Abandoned by her husband, robbed by her own son — who actuallydid 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 inconclu sive. Condd, 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 Chiteau- roux. In the presence of her son, the Due d'En ghien, she said to the curd 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 CLAIRE-CLEMENCE EXILED 73 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 Chiteauroux, 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. Chiteauroux, 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 Condd family who showed any pity for this poor, forlorn woman, and she expressed a wish to visit her ; but Condd, unre lenting, refused her permission. He sent, however, Pdre 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. Un relenting to the last, Condd 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 74 FESTIVITIES AT CHANTILLY was buried in the little church of St. Martin, within the precincts of Chiteauroux. 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 Condd, 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 Due d'Aumale, in his History of the Princes de Condd, is also full of sympathy and appreciation for poor Claire-Clemence ; although he endeavours to excuse the great Condd'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 Chiteauroux, not only her husband but her son also seems to have felt no pity nor care for her. At Chantilly, BOILEAU A GUEST AT CHANTILLY 75 where Anne de Gonzague reigned supreme, fes tivity 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 Mardchal de Grammont were frequently invited. Also such celebrated men of letters as Boileau, Racine, Corneille, La Fontaine, and Molidre found their way thither ; for Condd 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 contra dicted him in some statement ; but noticing an angry look upon His Highness's countenance, he became alarmed, and, making a profound bow, said : " fe serais toujours de tavis de M. le Prince, surtout quand il aura tort" — a piece of tact which was much appreciated by his host, and disarmed his anger. Condd was also the first to recognise the greatness of Molidre, 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 passion ately in love with Madame de Montespan, Molidre wrote his poem Amphitryon, wherein he advises 76 FESTIVITIES AT CHANTILLY husbands to offer to Jupiter a share of their nuptial love — a work which he dedicated to the Prince de Condd. 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 Condd, and thither thronged all the most distinguished personages in Europe. Madame de Sdvignd, in her famous Letters, des cribes 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 167 1 Chantilly opened its portals to receive Louis XIV and his bride, the Infanta Maria Theresa. The Chiteau 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 maitre d'hdtel, 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- LOUIS XIV AT CHANTILLY ^^ create Versailles. "Mon cousin',' he jokingly said to Condd when leaving, " ilfaut que vous me cddiez Chantilly!' To which Condd promptly replied, "Chantilly est aux ordres du roi. f'espdre que sa maj est d me nommera son concierge." CHAPTER VJI THE GRAND CONDE A WARRIOR ONCE MORE Shortly after this memorable visit of the Court to Chantilly the Prince de Condd 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 Condd's successes at Rocroy, Nordlingen and Lens, and his admiration for the Prince's skill in strategy and geography was un bounded. 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 78 WILLIAM OF ORANGE 79 a French town ; whilst Condd once more surprised the world by his conquest of the whole of Franche- Comtd 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 am bitions of either the King, his generals, or the French nation. Hostilities were therefore soon resumed. With an army of thirteen thousand men commanded by Condd and Turenne Louis advanced on Holland. He crossed the Rhine, devastating and conquering everything before him. No less than ninety-five towns and villages capitu lated in ten days. Holland, conscious of her in ability 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, ob liged 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. Condd, meanwhile, led the advance- guard with a rapidity which in less than nine 8o GRAND CONDE ONCE MORE A WARRIOR 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 con sequences. When the French squadrons had reached the opposite bank of the river Condd, with his son and his nephew, the Due 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 Due de Longue ville, 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 Condd himself. The Prince and his dead nephew were immediately transported to a fisher man's hut. By a strange coincidence, the mourners THE GRAND CONDE IS WOUNDED 8i were met by the Ambassador of Poland, who had come to offer the crown of the Jagellons — refused by Condd for his own son — to the unfortunate young Duke. Condd's wound changed the course of the whole campaign, since it incapacitated him at the supreme moment when he might have reaped the full ad vantages 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, Condd 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 6 82 GRAND CONDE A WARRIOR ONCE MORE 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. Condd, hardly yet recovered, was summoned by his sovereign, and was re quested 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 Condd 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 Bran denburg ; 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. Condd was immedi ately 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 BOSSUET AND MOLIERE AT CHANTILLY 83 Condd preserved Turenne's army, and terminated this great campaign, in which were engaged three of the most celebrated generals of the period : Monte cucoli, the profound strategist, the sagacious Turenne, and the great Condd, 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 Sdvignd, who was repeatedly invited to the Chateau, says in her Letters that Condd 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 Condd, but it was also a rally ing-place for the most distinguished literary and scientific men of the day. Here Bossuet, Fdnelon, and the philosopher Malebranche, the poets Corneille, Racine, and Molidre 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 ddbut. The Prince kept a special 84 GRAND CONDE A WARRIOR ONCE MORE 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 im portant 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 Chiteau. For him Charles Le Brun and Mignard worked assidu ously, and some ofthe paintings by Paul Veronese, Guido, Guercino, the Carraccis, Van Dyck, and Antonio Moro which now adorn the walls of the Musde Condd 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, con ferring upon each of them individual names. In concluding these notices on the life and PL.4.TK XV. Photo, t Uraitihiii. Moliere. By Mignard. ilii.see Conde. CONDE PROTECTS THE HUGUENOTS 85 character of the Grand Condd, 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, Condd, 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 — Condd in his old age attempted to take in hand the education of his grandson, the young Due de Bourbon, and of his favourite nephew, Francois, 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 Francois de Conti had dis played 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, Condd invited to Chantilly La Bruydre, 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 6* 8o GRAND CONDE A WARRIOR ONCE MORE 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 Condd. Upon one occasion we are told that he entered the Church of the Minimes, when the great philo sopher happened to be preaching. Bossuet, who was arguing upon the vanity of the glories of this world to which Condd 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 Condd, 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 Condd had been a member of a society THE GRAND CONDE'S DEATH 87 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, Condd 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 appre ciated by men like La Bruydre and Bossuet, was never interfered with. Saint-Evremond sang Condd's praise in the following characteristic verses : A ia vertu, Cond^, tu t'es enfin soumis Tu n'dtais pas encore au cotnble de ta gloire, Senef, Lens, Fribourg et Nordlingen et Rocroi 88 GRAND CONDE A WARRIOR ONCE MORE N'itaient que des degrhpour monter jusqu' a toi.. Le vainqueur s'est vaincu, c'est la grande victoire. Tranquil et glorieux, II vit a Chantilly comme on vit aux deux. Bossuet has described the last moments of the hero : " Such as he was in his warrior days, reso lute, 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 CONDES When Henri Jules de Bourbon succeeded to the Condd inheritance, he continued with filial piety to carry out all the improvements and additions to Chantilly which his father had planned. Francois 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 Condd 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 Pavilion d'Oronthde. Statues of the Grand Condd, of Bossuet, of Molidre, of Le N6tre, and of La Bruydre, executed by the most famous sculptors of the day, were placed along the Terrasse du Conndtable ; 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 89 90 THE LAST CONDES canvas by Sauveur Lecomte in accordance with directions left by that hero himself. In 1688 the Prince de Condd 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 Chiteau occupied by that Prince were those once inhabited by the Grand Condd himself. A description of the entertainments given upon this occasion may be read in the Mer cure 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.^ 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 Condd 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 Due de Bourbon, generally known as 1 This stone table is still used as a rendezvous de chasse by the Due and Duchesse de Chartres. THE DUCHESSE DEBERRY AT CHANTILLY 91 Louis III, Prince de Condd, died soon after his father. Louise Francoise, his wife, had presented him with six daughters and three sons ; of whom the eldest, Louis Henri, succeeded to the title of Prince de Condd at the early age of eighteen.^ 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 origin ally adorned with a statue of La Renommde, 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 Mdmoires 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 ' He, however, was generally known not as Prince de Conde but as Due de Bourbon or Monsieur le Due. 92 THE LAST CONDES 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 Chiteau. The King's Apart ment was over the Museum ; it extended from the Chapel to the so-called North Tower, and was com posed of guard-rooms, long galleries, and vast cham bers. 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 Due de Bourbon became Prime Minister of France. His wife, Anne Marie de Bourbon, had died and his mistress, the famous Marquise de Prie, reigned LOUIS HENRI, PRINCE DE CONDE 93 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 inter preted Italian music, learnt during her stay in Turin where her husband for many years had been am bassador. 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 un married 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 94 THE LAST CONDES Due ; 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 posi tion. 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 Due 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 re tired to Chantilly with his mistress, where, the lady received a most discourteous welcome from Madame la Duchesse Douariere ; 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 Due 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 LOUIS XV AT CHANTILLY 95 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 ad mired the young chdtelaine of Chantilly, never went to Compiegne without paying her a visit on the way. In memory of these Royal visits he sent her a beautiful spray of diamonds, which the Due de Luignes in his Mdtnoires 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 Chiteau in a gondola, accompanied by four Court ladies. The Duke and Duchess received this gay party and supper was immediately served, but next morn ing 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 Due 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 Condd, and it was then remarked that he was very fair and tall for his age. His uncle, the Comte de Charolais, meantime 96 THE LAST CONDES 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 Ver sailles with great pomp. The young couple passed their honeymoon at Chantilly and, according to the chronicles of the old Chiteau, they immediately commenced to display the traditional Condd taste for profuse hospitality. Balls, theatricals, garden- fdtes, etc., followed each other in quick succession for six weeks. In 1756 their son and heir was born. At first he was known as the Due d'Enghien but this was afterwards changed to Due de Bourbon. The second child was a daughter, Louise de Condd, 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 PLATE XVI. CHARLOTTE, PRINCESSE DE CONDE, WIFE OF LOUIS JOSEPH DE BOURBON. .l/iii-V Conde. Je.in JL Nuttier. 96] MARIE ANTOINETTE VISITS CHANTILLY 97 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 Condd. 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 Condd 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 ofthe Chateau and adding thereto minera- logical and physiological collections of great value. His only son, Louis Henri Joseph de Bourbon, when just fifteen was affianced to Louise Marie Thdrdse Bathilde d'Orldans, 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 eclat 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 fetes given upon that 7 98 THE LAST CONDES occasion, were much admired. Louis Joseph, like the Grand Condd, 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 Chiteau ; and the latter presented to the Prince de Condd the magnificent cabinet containing many strange and curious minerals now at the Musde Condd. In 1782 the Comte du Nord, afterwards the Emperor Paul of Russia, with his wife, Dorothea of ILLUSTRIOUS VISITORS AT CHANTILLY 99 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 fdtes 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, them selves 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 Frietid of the House, The Supposed Poet, and The Fifteen-year-old Lover. The latter piece told the love-story of the Due 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 facade of the Chiteau was decorated with the heraldic bearings of the Emperor and Empress. Supper was served on the Isle d Amour and then fol lowed a ball which was so gay and full of merri ment 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 Condd princes and princesses are particularly fond. A stag was loo THE LAST CONDES 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 Due d'Aumale by the Grand Duke Wladimir, which is now in the Musde Condd. 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 Condd, 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 Conde, 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 PRINCESSE LOUISE DE CONDE loi de Condd 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'Orldans, who presently became her sister-in-law. These two Princesses had each a royal house hold of their own, with maids-of-honour and attendants ; and they were permitted to receive the visits of relations and certain selected friends. The Due de Bourbon, whose attachment to his sister was the one redeeming point in his other wise 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 Condd 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 Due 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',' ^ insisted on his 1 This brought enormous benefits to the Crown, but was the cause of the famine in 1768. 7* I02 THE LAST CONDES grandson marrying Marie Thdrdse 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 Chiteau 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'Archam bault), wherein he hymned the praises of his adored Princess. "L'dtne n'a pas d'age, comme elie fia pas de sexe," wrote her admirer. But Louise de Condd, 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 any thing that attracted their fancy, it is remarkable to find a Princess who held such a high moral stand ard, 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 her- THE MARQUIS DE GERVAISAIS 103 self 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 Due 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 Condd. 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 Condd family honoured the House of Peers at the same I04 THE LAST CONDES 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 Condd arrived breathless at the Chiteau, 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 Condd 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 Condds, seeing that they could not prevail upon him to remain firm, determined to quit France so as to be able them selves 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. The three Princes returned to Chantilly for one day only, and then left France for Germany. The youngest, the Due d'Enghien, was destined never to see his ancestral home again. It must have been a touching spectacle to see the old Prince de Condd, accompanied by his daughter, his son the Due de Bourbon, and his grandson the Due d'Enghien, leaving the sumptuous abode of their ancestors, so full of glorious memories. The Comte d'Artois — afterwards Charles X — followed their PLATE XVII. 104] LOUIS JOSEPH DE BOURBON, PRINCE DE CONDE. Muse,; Conde Madame de Tott. THE THREE CONDES LEAVE FRANCE 105 example ; and numerous French officers volunteered to make common cause with Prince Louis Joseph de Condd, whose name was associated so closely with the glories of France. There still exists a history of Condd's army written by Bittard des Portes, wherein is related in detail the courage and fortitude with which these French emigrds endured their great privations. The Austrian General Wiirmer, we are told, was deeply moved at the sight of Condd's regiment, which he styled "la vielle France tnilitaire" ; and Napoleon, in his Memoirs, when speaking of the Condds and their army abroad, wrote: "La France donna la mort d leur action, mais des larmes cl leur courage. Tout ddvoHmetit est hdro'ique!' 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 Chiteau. 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 Chiteau at Chantilly was used as a prison for political offenders ; and the first arrivals were forty- one persons from Beauvais,^ 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 antici pated. Arriving at two o'clock in the morning, 1 " Histoire de Chantilly pendant la Revolution," par M. Alexandre Sorel. 106 ACCOUNT OF THE DUCHESSE DE DURAS 107 they were thrust into the Chapel, but later on they were lodged in the Chiteau 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 Condds I had often heard Mass. It was now filled with sacks of flour, on one of which I took my seat, whilst the Com missioner 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 io8 CHANTILLY DURING THE REVOLUTION possible." Fortunately he departed soon after this speech and the Commissioner, more humane, appor tioned 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 fdtes given by Prince Louis Joseph de Condd 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 Chiteau d'Enghien ^ 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 Chateau, erected by Mansart during the time of the Grand Condd, nothing remained but the foundations ; for it was razed entirely to the ground. The adjoining Petit Chateau of the Montmorencys, however, as already stated, miraculously escaped. ^ The Chateau d'Enghien, built in 1770, was chiefly used for the attendants and suites of the illustrious guests who came to Chantilly. THE CONDES AT WANSTEAD HOUSE 109 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 Chiteau d'Enghien, and the magnificent stables were once again devoted to their proper uses. Meanwhile Prince Louis Joseph de Condd since he left France had sojourned with the Elector at Worms, as Commander of the army of the French etnigrds, 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 tnagna quies!' Here he married as his second wife Marie Catherine de Brignole, the widowed Princess of Monaco, who had long been his constant and faith ful 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 Condd, 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 IIO CHANTILLY DURING THE REVOLUTION nephew, the Due 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 Condd Princes coming to meet her. The execution of the Due 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 at tached, and, it was said, had married. He was there fore 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 Due d'Enghien. He had tried in vain to en trap these Princes, and failing committed this act of personal revenge on the eve of proclaiming him self 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 RETURN OF THE TWO CONDES iii 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 Condds returned to Chantilly from England and found the old place, with the exception of the Petit Chateau, 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 Due 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 water fall, 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 Chiteau ; 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 Condd, which, by a strange piece of luck, the Revolutionists had not demolished. The old Prince held these apartments in high honour ; and 112 CHANTILLY DURING THE REVOLUTION 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 re membered so well in the past. He also succeeded in recovering the larger number of the works of art which the Montmorencys and the Condds had accu mulated, 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 pre serving 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 ; DEATH OF LOUIS JOSEPH DE CONDE 113 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 Condd 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 Due de Bourbon, had not the iron nature of his father. He refused to take the title of Prince de Condd 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 Thdrdse Bathilde of Orldans to whom he became reconciled after a long separation, died suddenly whilst attend ing a patronal festival at Saint-Genevieve. She fainted whilst at her devotions, and on being trans ported to the Sorbonne died before her husband could be summoned. Her favourite nephew, the Due d'Orldans — 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 8 114 CHANTILLY DURING THE REVOLUTION fifth son was born — a child who eventually became the last Seigneur of Chantilly. He was held at the baptismal font by the last Condd, who from this time formed a great affection for his god son. 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'Orldans, 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 ofthe line of Condd. He thus refers to him: "When recalling my childhood, I picture to myself M. le Due de Bourbon, dressed in his habitual greycoat, 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." In 1830 Marie Amdlie, Queen of Louis Philippe of France, visited Chantilly with her son. Prince Henri d'Orldans, and was received by the last of the Condds. 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 PLATE XVIII. LOUIS HENRI JOSEPH DE BOURBON, LAST PRINCE DE CONDE. Musve Conde. MADAME DE FEUCHDRES 115 low-born woman — one Sophie Dawes, the daughter of a fisherman in the Isle of Wight, and known as the Baronne de Feuchdres — contributed greatly to embitter the last days of his life. After pocketing all she could, Madame de Feuchdres on the death of the Duke left for England rather suddenly, and from that time was heard of no more. Louise, Princesse de Condd, died several years before her brother at the Temple as Prioress of the Benedictine Nuns. She had borne with much forti tude 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, Ger vaisais, " C e^ un front h porter une couroune . . . ou un voile de religieuse!' CHAPTER X THE DUC d'aUMALE LORD OF CHANTILLY After the death of the last Condd, Chantilly was once more left desolate and abandoned, since Prince Henri d'Orldans, the heir, was still a child. In 1820 his eldest brother, the Due d'Orldans, 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 Due d'Orldans, 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 dlite of French society thronged every year to attend a " Meeting " which speedily be came one of the most famous in the annals of Sport. Residential accommodation was then very re stricted, for only the Petit Chiteau and the Chiteau d'Enghien were available, the Grand Chateau not having yet been rebuilt. The theatre where Molidre, Racine, and Corneille produced their plays had also vanished ; a substitute was therefore improvised for these occasions by the Comddie Fran^aise on the site of the present Library. But Orldans Princes in those days had not so 116 THE DUC D'AUMALE IN ALGIERS 117 much leisure for mere recreation as had their predecessors. In that same year the Due d'Orldans started for Algiers, taking with him the Due 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 opera tions 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 Musde Condd 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 Amdlie, who was overjoyed to welcome one of her own relatives as her son's bride. 8* ii8 DUC D'AUMALE LORD OF CHANTILLY 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 Eugdne 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 Chiteau — the same suite which the Grand Condd 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 Condd was conferred upon the Due 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 other wise. In February 1848 Louis Philippe was THE DUC D'AUMALE IN EXILE 119 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 imme diately for England, and took up his residence at Claremont under the style of Comte de Neuilly. This unfortunate event obliged the Due 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 Chiteau d'Enghien, and administered the whole of the property on behalf of the Duke ; whilst the Petit Chiteau was let to Lord Cowley, who made it his summer residence. Later it was successively occupied by the Comte Dtichatel and the Due de la Trdmoille. Twenty-three years later, after the disaster at Sedan and the fall of the second Empire, the Due d'Aumale was once more permitted to return to Chantilly. Many changes had occurred during I20 DUC D'AUMALE LORD OF CHANTILLY this long interval. The Duchess, overcome with grief at the death of her eldest son, the Prince de Condd, 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 de cided 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 follow ing 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 Due d'Aumale on his return to Chantilly was accompanied only by his younger son, the Due de Guise, and it was not possible even then for him to obtain possession of it. The Chiteau THE DUC D'AUMALE IN EXILE 121 and the Pavilion 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 Condds 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 de parted, His Royal Highness entered upon his pro perty 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 Due 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 Condds, 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 Chiteau. In 1872 all the surviving members of the French Royal Family assembled at Chantilly to celebrate the wedding of Princesse Marguerite, daughter of the Due de Nemours with Prince Ladislas Czartoy- 122 DUC D'AUMALE LORD OF CHANTILLY X sky ; and on this occasion the great battle-pieces representing the military glories of the great Condd 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 Due 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 Due 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 Chiteau and estate came to an abrupt standstill, for the heart broken father had now to realise that, as he him self mournfully put it, " la dernidre flamme de son foyer dtait dteinte!' A new scheme now took shape in the heart of the Lord of Chantilly : a scheme at first kept to him self, 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 appur tenances 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 Chiteau. After years of labour there arose once more upon the vaults of THE MUSEE CONDE ERECTED 123 this famous fortress the present building, destined to become the Musde Condd, a veritable palace of Literature and Art. Its architecture, in order to harmonise with that of Montmorency's Petit Chiteau, 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 Mont morency and the Condd 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 Ecouen, an old seat of the Montmor ency 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 Lecheval lier Chevignard.^ 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 Condd in 18 15. 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 1 See p. 8. 124 DUC D'AUMALE OWNER OF CHANTILLY Due de Chartres, made a lengthy stay at Chantilly ; and not long afterwards Princess Marie Amdlie, daughter of the Comte de Paris, was betrothed here to the Duke of Braganza, afterwards King of Portu gal. But in that same year Republican France suddenly pronounced a further sentence of banish ment upon all claimants to the French Throne — Royalist and Imperialist; in which order the Due 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. 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 PLATE XIX. HENRI D ORLEANS, DUC D AUMALE. Miisee Conde. 1^4] L^ou Bounat. WELCOME BACK TO CHANTILLY 125 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 accom panied by a vast crowd to the door of the Chateau. A medal was cast in commemoration of this return, upon the obverse of which was a figure contemplat ing France from afar and the word " Spes " ; upon the reverse a figure at the gates of the Chiteau holding an olive-branch and the inscription " A S.A.R. Monseigneur le Due d Aumale ; en souvenir du 11 mars i88g, les habitants de Chan tilly reconnaissants !' Subsequently an equestrian statue of the Duke was cast and placed near the entrance of the Chiteau 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 127 CHAPTER XI THE ART TREASURES OF THE MUSEE CONDE AND HOW THEY WERE BROUGHT TOGETHER No sooner had the Due 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 pro nounced 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 1 85 1 on the death of that King. This remarkable collection contained numerous Aldine editions and I30 ART TREASURES OF THE MUSEE CONDE 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 Tres Riches Heures du Due de Berry, an unique example of primitive French Art, to a de scription 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'As- Pretnont (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, illus trated with original designs by Moreau. In the year 1861 the Due 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.^ 1 A sketch for the well-known picture of that Saint in the National Gallery. SPEECH OF DISRAELI 131 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 foconde (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 fudgment at Orvieto ; studies for Michael Angelo's Prophets in the Sixtine Chapel ; and draw ings 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 Virgitt by Diirer, an interesting Portrait by Holbein the elder, a Mountainous Landscape by Rem brandt, and certain studies of costume attributed to Pisanello, etc., are all worthy of more than a passing notice. Orldans House was soon found to be far too small to contain all these treasures, and an annexe was built to it. The Due 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 anni versary 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. 132 ART TREASURES OFTHE MUSEE CONDE 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 Prittces de Condd 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 Condd — a collection which comprised, amongst other things, two fine Van Dycks (the Princesse de Barbangon 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 Hitnself by Guercino, a fine FRENCH ART ATTRACTED THE DUKE 133 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 Eng land, 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 Wotnan 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 Cossd Brissac ; Madame and Mademoiselle de Longueville, by Beauburn ; and other portraits by Mignard, Lar- gillidre, 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 Hetiri III, of Elisabeth of Austria, and of 9* 134 ART TREASURES OF THE MUSEE CONDE 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 A ssassination of the Due de Guise by Delaroche, and a painting by Descamps ; and at the Lawrence Sale in 1856 secured a portrait of his ancestor Philippe Ega- litd by Sir Joshua Reynolds. This was appar ently 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 Mazariti and Richelieu by Philippe de Champaigne, now at Chantilly, were formerly at Chiteau d'Eu, and formed part of Louis Philippe's collection, as also did de Troy's Ddjeuner dHuttres and Lancret' s Ddjeuner 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 Chiteau. CELEBRATED INGRES ACQUIRED 135 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 i860 another work by the same master, Thdsde ddcouvrant tdpde de son pdre, which is typical of that artist's particular style. At the North wick 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 Hotno was bought for 15,000 francs from the Averoldi family of Brescia, for whom it is said to have been painted.^ The Wotnan 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 i860 from M. Nieuwenhuys ; and in 1864 at a public sale in Paris the celebrated painting by Ingres repre senting The Story of Antiochus and Stratonice fell, amid general applause, to the lot of the Due 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 Gdrome's Le Duel apr^s le Bat and Protais' Avant et apr^s le Combat. 1 There is a certain affinity between this picture and the portrait in the National Gallery which is said to represent Ariosto. 136 ART TREASURES OF THE MUSEE CONDE 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, Antoitiede Bourboti, Louis de Bourbon, and Catherine de Lorraitie. 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 in teresting work of art he paid 10,000 francs ; whilst two small Greek bronzes — one representing y^^/zV^r and the other a statuette of Minerva — were knocked down to him for 8,000 and 19,300 francs respect ively. Upon this occasion the Duke was bidding against the Louvre, the British Museum, and Monsieur Thiers. These two bronzes, which were found near Besan9on, are of unequal merit ; the fupiter is of only average workmanship ; but the Minerva statuette is considered one of the greatest treasures at Chantilly. Ldon 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 Letnnos. The fact that this statuette was found at Besan^on 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 ? PLATE XX. The Minerva of Chantilly. (ireek Bionze. THE MINERVA AT CHANTILLY 137 We know that Tiberius never travelled without his much-cherished Amazon of the Vatican. A fragment of an antique sarcophagus repre senting 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 Amdlie, the Due d'Aumale inherited a great many family por traits and miniatures, the most noteworthy among these being a life-size portrait of Gaston d'Orldans 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 Amdlie herself, painted by Gdrard in 181 7, and likenesses of the same Queen and two of her daughters by Vigde Le Brun ; a portrait of Louis Philippe as Due d'Orldans, when professor at Reichenau, by Winterhalter ; and others of Philippe Egalitd and his charming wife, a daughter of the Due de Penthidvre, and of the Due d'Aumale as a 138 ART TREASURES OF THE MUSEE CONDE child by Robert Fleury. Most of the gems and miniatures are likewise from the collection of Queen Marie Amdlie ; 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, Frangois I, Gabrielle d'Estrdes and her two sons, Henri II, Henri IV, and Sully, the famous Minister of Finance ; of the Due de Guise {le Balafrd), Marie de Medicis, Marie Thdrtse, 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 i860 presented him with Talleyrand' s portrait by Ary Scheffer. From Sir Charles Robinson the Due d'Aumale acquired some fine italiaiT manuscripts, and an interesting Rheno-Byzantine painting repre senting 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. illumin ated for the Emperor about the year 1000. From the same source came another fragment, a Resur rection, dating from the fourteenth century and THE ORLEANS MADONNA 139 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 Due 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 £n Algdrie ; 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 dOrldans 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." * At one time in the possession of Gaston d'Orldans, 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 * The other is the Madonna del Connestabile now in the Hermitage. I40 ART TREASURES OF THE MUSEE CONDE 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 ex pression 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 Orldans Madonna subsequently returned to Flrance to the house of the well-known collector Crozat, from whence it passed into the Orldans 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 Musde Condd. • • • • " When the Due 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 theruins ofthe old Chiteau, 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 PLATK XXI. Photo. <.iH-ainlon. The Virgin of the Maison d'Orlean ny Raphael. see Confi e. THE SUTHERLAND COLLECTION 141 receive all the treasures which it was destined to hold ; but meanwhile the Duke continued to in crease 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 Gaignidres 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 Due d'Aumale acquired it, consists of no less than 69 painted portraits, 148 drawings in coloured chalk and several pastels. Amongst the most inter esting of these portraits are : Francis I (painted about 15 1 5), his sister. Marguerite d'AngoulStne, and her husband, Henri d'Albret, King of Navarre ; Jeanne d'Albret ; Adtniral de Coligny, and his brother the Cardinal ; Catheritte de Medicis, Diatie de Poitiers, Charles IX, Henri III, the Due dAlenqon, and the Due de Nemours (all attributed to Francois Clouet) ; Marguerite de France, and Madame de Latigai (attributed to Corneille de Lyon) ; 142 ART TREASURES OF THE MUSEE CONDE Philippe de Cleve, Sieur de Ravettstein ; Jean de Bugenhagen (attributed to Holbein) ; Catherine de Bora, the wife of Luther ; Charles V ; the Cotmt atid Countess Homes ; Henri IV (by Pourbus), and an attractive likeness of his daughter Elizabeth, Queen oJ Spain ; Gabrielle dEstrdes au bain ; the Due de Retz ; the Due d Aumont on horseback ; Sully and Charost (by Quesnel) ; George I; several portraits by Mignard, among them a magnificent likeness of Molidre, another of Mazarin, and two pastels representing Colbert and Quinaidt. From the same collection are the portraits of Pope Bettedict XIV by Suleyras and of Marie Antoinette as Hebe by Drouais. Another portrait which attracts much notice is that of Antoine de Bourgogne, the Grand Bdtard, the second of the nineteen illegitimate sons of Philippe le Bon. This painting was presented to the Due 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 pro bability. The Grand Bdtard^ 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 biblio phile and collector. His Chiteau of La Roche 1 See Plate XIV. THE CARMONTELLE COLLECTION 143 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 auto graph " ob de Bourgogne',' " ob " being an abbre viation of the Greek word 6^ak6s, which means bdtard} 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'Orldans, Louis de Haros, and an interesting portrait of Watteau designed by Boucher after an original by Watteau himself. In 1877 the Due d'Aumale availed himself of another opportunity of restoring to France a French collection which had been brought to England, namely, that of M. Carmonjelle, 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 Due 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 1 Der Breslauer Froissart von Aithuv hindner. (Berlin, 1912.) 144 ART TREASURES OF THE MUSEE CONDE 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 Orldans, the officers, ladies and gentle men, 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 Mesangdre, 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 1 83 1 the Carmontelle drawings reappeared in Scotland in the Duff-Gordon-Duff Collection, whence they were acquired by the Due d'Aumale for the sum of 112,500 francs, to add to other examples of this artist's work, particularly a portrait of Cartnontelle himself, which he already possessed. They are now stored in large portfolios in the Salle Caroline at Chantilly, and, catalogued with com ments and notes by the late Anatole Gruyer, afford great pleasure and amusement to those who have leisure to examine them. The next acquisitions were a number of paint ings collected by M. Reiset, who had already, as we have seen above, passed on his drawings to the inde fatigable Duke. The price paid for these was 600,000 Plate XXII. Plioto. Giraudun. A GAME OF CHESS. Carmontelle. Musee Conde. THE SASSETTA AT CHANTILLY 145 francs, and they include no less than twenty-five pictures ofthe Italian School, amongst which we may mention the following : a small panel representing the Death of the Virgin, attributed to Giotto (un fortunately much repainted) ; The Coronation of the Virgin, by Giovanni del Ponte di San Stefano ; an allegorical figure representing Autumn, attri buted to Botticelli ^ ; an Annunciation by Francia and a Holy Family by Jacopo Palma ; several Luinis and two small Filippo Lippis ; and an ex quisite little Madonna holding the Infant Christ by Bissolo. The Marriage of St. Francis of Assist to Poverty, by Sassetta (formerly assigned to his pupil Sano di Pietro) is one of the most at tractive 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 pos session of Mr. B. Berenson.' In the painting at Chantilly Sassetta may be seen at the height of his imaginative power.^ 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 ' A drawing of which is in the British Museum. * Bernhard Berenson, A Sienese Fainter of the Franciscan Legend {Burlington Magazine, 1903). 3 See Plate XXIII. 10 146 ART TREASURES OF THE MUSEE CONDE the Saint whom they are leaving on earth. It is full of the naive sentiment for which this artist is so conspicuous. Another interesting painting which belonged to the Reiset Collection is the portrait of Sitnonetta Vespucci, formerly assigned to Pollaiuolo, but attri buted 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 Musde Condd 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 Hutiiati Race ^ — a work executed in 1452 by Charon ton and Vilatte for Jean Cadard and his wife, and of special importance in the history of French painting. Five large Poussins, two Gaspar Dughets, a portrait of Napoleon by Gerard ; and no less than 1 See Plate XII. X ai ai o(JD > < H2O z fc o 0^ ai VICTOR HUGO AND THE DUC D'AUMALE 147 three works by Ingres came also from this same source : namely, iht A rtisf s own portrait as a youth, a portrait of a Madame Devangay, 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 Chiteau of the Condds 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 Acaddmie des Beaux Arts. It was on this occasion that Victor Hugo, whom the Prince had referred to in his address of eulogy upon his pre decessor, wrote him the following memorable letter : Cher et Royal Confrere, Je viens de lire vos nobles paroles sur moi. Je vous ecris etnu. Vous ites nd prince et devenu 148 ART TREASURES OF THE MUSEE CONDE homme. Pour tnoi voire royautd a cessd ditre politique et maintenant est historique ; tna rdpub- lique ne sen inquiet e pas. Vous faites partie de la grandeur de la France. Et je vous aime! 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 ;^3,8oo, 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. 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 com position 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 Ktiight at the National Gallery are not far apart and may probably both 1 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 ; ray Republican conviction is not disturbed by it. You have contributed to the greatness of France. And I love you. platk xxiv. I'lioio. I :'u-nit 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. The greatest gem, however, of all these illumin ated MSS. is unquestionably the precious volume known as Les Tris Riches Heures of the Due de Berry. The Due d'Aumale himself relates the history of its acquisition in 1855. On his way to visit his mother Queen Marie Amdlie, then lying Plate XXX. Pluito. Giraudon. MAY. Pol de IiMiihuufL: From The "Trt-s Riches Hcun-s du Due de B^*rl¦y." THE DUC D'AUMALE AND PANIZZI i6i 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 care fully unfolded the newly acquired treasure from its " cassetta foderato di velluto" and every con noisseur of note at once hastened to examine the wonderful MS. which the Duke had been so fortu nate 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 dis covery that the Tris Riches Heures could be identified with the MS. described in the Inventory of the Due de Berry : " Item une layette plusiers cay ers d'une ' Tris Riches Heures ' que faisoient Pol et ses frires, tris 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 Due de Berry brought these precious pages, begun under such brilliant auspices, II i62 FRENCH ILLUMINATED MANUSCRIPTS to a sudden standstill ; and in consequence of that prince's debts — which arose chiefly from his expen sive artistic tastes — a sale of his property immedi ately took place. The Due 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 Due d'Orldans by Jeati 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 1545, 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 Due 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 Perrdal regarding the tomb of her hus band 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. Plate XXXI. Photo, Giraudnn. JUNE. Pol d-- Limbourg. I...11, 'I'll' 1,:.- h :j,-.- H.-.' i.,s oi: Iuc de B^rry." SPINOLA OWNED TRES RICHES HEURES 163 Comte Paul Durrieu identifies the Tris Riches Heures with a MS. mentioned also in an Inventory of 1523 as " une grande heure escripte a la tnain',' whereby it can be explained how the Grimani Breviary^ 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 immortal ised by Velasquez. From the Spinolas it came into the family of the Sdvres, a fact proved by another coat-of-arms amongst the illuminations ; and from a member of that family it was acquired by the Due 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 repre sented at Chantilly. Some portions of the collec tion go back to the old Montmorency and Condd 1 Cf. p. 168. i64 FRENCH ILLUMINATED MANUSCRIPTS acquisitions ; whilst the Due 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. Plate XXXII. plioto. Giraudon JULY. Pol (le Limbourg. From The "Tres Riclies Heuns du Due de Berrj-.' CHAPTER XIII LES TRES RICHES HEURES DU DUC DE BERRY The Due 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 Tris 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 Turiti, once treasured in the Royal Library of that city, perished in a disastrous fire in 1904.^ It was likewise for the Due de Berry that the nephews of Malouel, Pol de Limbourg and his brothers, painted these famous Tris Riches Heures now at Chantilly. And that the Duke very greatly 1 It was fortunate indeed that Comte Paul Durrieu had made a reproduction in phototype from the original Horus 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 14 17 belonged to Count Hainan, 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. I 1 * 165 1 66 LES TRjkS RICHES HEURES 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 Due 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. Be sides 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. 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 deco rated and illustrating minor passing events in the life of the period, with portraits of the Duke Plate XXXIII. Plmiu. Giraudon. AUGUST. Pol de Limbourg. From The "Tres Riches Heures du Due de Berry.' THE PORTRAIT OF THE DUC DE BERRY 167 himself, his family, his friends and other person ages. The Month of January ' begins by showing us a banqueting scene. The Due 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 Saliire du Pavilion and its design is attributed to Pol Lim bourg himself.^ 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 com pare it with a Holbein drawing at the B^le 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 ofthe 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* with a church tower lies beneath a mantle of white. The feeling 1 See Plate XXVII. ^ " Une Saliere d'agathe garnie d'or et de perles, laquelle saliere l' artiste donna a monseigneur aux estraignes." — Leon de Laborde, Glossaire, p. 367. 3 See Plate XXVIII. 1 68 LES TRES RICHES HEURES 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! In the Month of April,^ with the Castle of Dourdan on the River Orge we find a scene char acteristic 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. The fifth miniature (which the Due d'Aumale designates as La Reine de Maiy is one of the most charming of the series, for May Day was at 1 Cf. p. 163. 2 See Plate XXIX. 3 See Plate XXX. Plate XXXIV. Photo. Giraudon. OCTOBER, Pol de Ijinibourfj;. Prom Tht; -'Tres Riches Heures du Due de Bm y. A GAY CAVALCADE 169 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 chap- let 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^ 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 involun tarily recall the paintings of Frangois Millet and the Barbizon School — a school which, after nearly four centuries, has revived the art of realistic land scape-painting in France. In the Month of July ^ the lofty towers of the 1 See Plate XXXI. 2 See Plate XXXII. I70 LES TRMS RICHES HEURES Castle of Poitiers, which not long before had been re stored by the Due 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^ 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 Chateau d'Estampes which the Due 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 chateau are represented with remarkable fidelity. The Castle of Saumur appears in the September miniature, where a vintage is proceeding with life and vigour. October^ brings with it ploughing, whilst a 1 See Plate XXXIII. 2 See Plate XXXIV. Plate XXXV. Pliiitu. Giniudun. DECEMBER. Pol de Limbourg. Prom The "Tres Riches Heures du Due de Berry. FASCINATING LANDSCAPES 171 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 repre sents 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 ^— the last of the series — a hunting- scene is presented, with a pack of hounds career ing through a spacious park, in the background of which is the Keep of Vincennes, the Duke's birth place. This miniature, which somewhat differs in conception from the earlier ones, was probably exe cuted by one of the brothers of Pol Limbourg. The fascinating landscapes and the graceful archi tecture of these Calendar Motiths excite our keenest admiration ; for we must remember that at this early date (14 1 5) landscape-painting had hitherto been treated as mere decoration, without any attempt at reality or probability. Their special charm lies 1 See Plate XXXV. 2 Masaccio (born in 1401), it is believed, could not have painted the frescoes at San Clemente before 141 7 ; perhaps even, considering his .age, rather later. 172 LES TRES RICHES HEURES very largely in their truthfulness to nature, and the Due 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 Due 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.-^ 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 illustra tions 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. This curious design is followed by small but * M. de Mely, Gazette des Beaux Arts, 191 2. Plate XXXVI. ^ IUS. ifo. ugiimnjis. ftiiif 3Lfali6,^frfirMroi(mf iii.ifniima.vPimiriiiM.' ii -^-remnis.nwgp.rixptmuws . i(mnfttptacr(miinciamo uafmnuma.anlnmiui . 3 um.dwrmuiactX!^'^^" ' imtm&iitiiifni/iiwCX/ (cmsimm.Amiioiumiil i'lioto. GinuRlun. THE ZODIAC. Poi de Limbourg aud liis Brothers. From Tbe "Tres Riches Heures du Due de Berrr.' ITALIAN AND FLEMISH INFLUENCE 173 exquisite miniatures of the Four Evangelists and of the Tiburtine Sybil prophesying to Augustus. Our attention is then drawn to a large design represent ing 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 Altnighty interrogating the offenders ; and their expulsion frotn 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 Atmiinciation and end with the Crucifixioti. The Antmnciation is perhaps one of the most attractive of the series. It no longer expresses merely Mediaeval 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 174 LES TRES RICHES HEURES 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 {purs-cigne), which is said to have been the name of the Duke's favourite mistress. They occur frequently in this MS. The Adoratiott ofthe 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 repre sentation 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 dis tance 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 realistic ally conceived. It is interesting, therefore, to note the admixture of symbolic tradition with realistic feeling. Tht Procession of the Magi, again, is an example of the Limbourgs' facility in applying new forms to conventional conceptions ; and it is worth ob- Plate XXXVII. V\i'''- .Wilt '^,1 ill ' h Photo. HiraudoTi. THE PROCESSION OF THE MAGL Pol de Ijimbourg and his Brothers. From The "Tres Riches Heures du Due de Berrv.' A COLLECTOR OF MEDALS 175 serving 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 Cottstantine. 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.^ 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 Due d'Aumale observes), as halting-places between Paris and Saint- Denis and were called Montjoies. The Fall of the Rebel Angels'^ 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, ^ Durrieu mentions that one of the Kitigs seems to have been in spired by this medal, but as a matter of fact he is faithfully copied from it. 2 See Plate XXXVIII. 176 LES TR^S RICHES HEURES 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 intro duced striking down the angels as they fall from above. This wonderful little design, although not more than lo 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 compo sition is The Coronation of the Virgin^ 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 Enguer- rand Charonton, executed about half a century later and now at Villeneuve les Avignon. The Temptation of Our Lord deserves some what special attention. The scene is represented as taking place upon a conventional mountain-top ; and Satan is pointing to a castle with three towers : 1 See Plate XXXIX. Plate XXXVIII. riiii^u. Gii-aiidnn. THE FALL OF THE ANGELS. Pol de Limbourg and his Brothers. Prora The ''Tres Riches Heures du Due de Berry.' To face piiL^c iy6. AN OLD PLAN OF ROME 177 none other than the Duke's celebrated Castle of Mehun-sur-Y^vre,' described by Froissart as the most beautiful place on earth. In the Cruciflxion, in accordance with the Biblical text, the artists have endeavoured to re present 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,^ 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 '^ It was in this castle that the Due de Berry commissioned Andrd 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. 2 See Plate XXVI. 12 178 THE TR^S RICHES HEURES 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 com pleted 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 contem plating mediocrity. In the Pietd (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 Tris Riches Heures, employed Bourdichon or Perrdal to complete them — or per haps 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 Due de Berry, and he was unable in consequence to distin guish great art from lesser achievements. Plate XXXIX. ?n\\m ^ ^xmtmimwm aosDnis Hoftn.^^^ ,m$nLiDiura ninnnman Plioto. Giraudon. THE CORONATION OF THE VIRGIN. Pol (le Limbourg and his Brotliers. From The 'Tres Riches Heures du Due de Berry." CHAPTER XIV JEAN FOUQUET OF TOURS It is reasonable to inquire with some misgiving whether the Tris Riches Heures du Due de Berry, 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 fean 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 Tris Riches Heures. We can trace in the Bible Moralisde {MS. Fran- gais 1 66 Bibl. Nat.) miniatures strongly recalling the style of the Limbourgs, and if we proceed to com pare some of its later pages, supposed to have been the work ofthe young Fouquet, with similar subjects as in the Chantilly Codex a distinct resemblance can be observed. For instance a representa tion of Paradise in the Bible Moralisde closely resembles the Limbourgs' treatment of the same subject in the Tris Riches Heures. A few pages farther on the same scene appears, attributed once more and not without reason to Fouquet — probably 1 Also called Heure; d'Ailly, after its former owners. 179 j8o JEAN FOUQUET OF TOURS 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. 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 Giovatini Fochet assai lodato pitor. And Jean de Maire of Belgium, who lived at the Court of that highly cultured patroness of the Arts, 1'hi.ito. Giraudon. ETIENNE CHEVALIER AND HIS PATRON SAINT KNEELING BEFORE THE VIRGIN. -lean Fouquet. Musee Coiule Plate XLI. Photo. Giraudon. THE VIRGIN AND CHILD RECEIVING HOMAGE. .Jean Fouquet. ^lusee Conde. MARGARET OF AUSTRIA AND FOUQUET i8i Margaret of Austria, daughter of the Emperor Maximilian, recalls Fouquet with highest com mendation. Indeed this princess, according to an Inventory of 151 6, seems to have owned a small Madonna painted by this master : " Uti petit tableau de Notre Dattie bien vieux de la tnain de Fouquet ayant etuy et couverture!' We know that Fouquet painted the portraits of Charles VII and oi Juvenal des Ursitis in the Louvre, and also a recently acquired portrait of a Man with a Glass of Wine. The life-sized portraits of Etietine 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. 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 condi tion. 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 Bibliotheque Nationale ; some MSS. now in the possession of Mr. Yates Thomson ; and, finest of all, the Atitiquitates JudcBorum of Josephus. In \}cit Statutes oJ the Order oJ St. Michael [MS. 198 19 Bibl. Nat.) Louis XI, as Founder of the Order, is portrayed surrounded by his thirty-six Knights. 12* i82 JEAN FOUQUET OF TOURS A similar miniature, but of somewhat greater dimen sions, 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 Due Jean d'Alencon. The scene is laid at the Castle of St. George in Vend6me, and amongst those present is Etienne Chevalier and the artist himself.^ Most realistically conceived are the crowd of onlookers, some of whom, pushing forward, are being vigor ously repressed by the guards. The Chronique de France {MS. Fratigais 6465 Bibl. Nat.), in which fifty-five illustrations record events in the Life of Philippe Augustus, one of them showing the Coronation of Charletnagne 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 fudceorum of Josephus — now in the Bibliotheque Nationale, Paris — are usually reckoned as his chef d'oeuvre. The Due de Berry had, in the first instance, commissioned Andr^ Beauneveu to execute this MS., but presently it came, by way of inheritance, into 1 Probably the figure to the right drawn full face, for it bears an un mistakable resemblance to Fouquet's Fortrait of Himself in the Louvre, .executed in enamel. Plate XLII. Photo. Gh-audon. THE MARRIAGE OF THE VIRGIN. Jean Fouquet. 31usee Conde. HOW FOUQUETS ART WAS IDENTIFIED 183 the hands of Jacques d'Armagnac, Due de Nemours, who engaged Fouquet to complete the unfinished work. A note in the first volume of this MS. by Francois Robertet, secretary to Pierre de Beaujeu, Due de Bourbon, records that the first three minia tures in that volume were by the Due 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 Due de Nemours, who on her marriage to the Due de Bourbon brought the treasure to the Court of Moulins. W^hen, a century later, the last Due 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 1 8 14. 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 ! ^ 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 minia- ^ Cf. The Romance of a Book, by Yates Thomson {Burlington Maga zine, 1906). i84 JEAN FOUQUET OF TOURS tures, then in the possession of King Edward VII, as the work of Fouquet and furthermore as be longing 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 Fallieres. Thus the two volumes were once more reunited after a separation of many centuries ; but with two sheets still missing. The illuminations har monise in every respect throughout, except that the designs in Volume I are somewhat superior to those in Volume II. Amongst them one represent ing the Children of Israel led into Captivity by King Shaltnaneser is most interesting and ex hibits Fouquet at the zenith of his powers. We may specially notice the exquisitely beautiful land scape and the horses, which recall the art of Pisa nello. Another scene labelled dementia 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). 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 remin- Plate XLIII. Photo. Giraudon. THE ANNUNCIATION. Jean Fouquet. Musee Conde. A FAMOUS BOOK OF HOURS MUTILATED 185 iscent of impressions received by Fouquet during his residence in Florence and Rome. They were appar ently 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 dip tych (the Madonna and Child) is now, as mentioned above, in the Antwerp Museum, whilst the other has found its way into the Kaiser Friedrich Collec tion at Berlin. The miniatures at Chantilly, forty in number, represent, if not the greatest, at least the most fascinating period ofthe master's artistic career. Like the MS. of the Antiquitates fudceorum they also suffered many vicissitudes before finally enter ing the haven of the Mus^e Cond^. Nicolas, Baron of Navarre and Beam, 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 Gaigni^re in his Receuils had copies made ofthe portraits of Etienne Chevalier and of Charles VII from this MS. and i86 JEAN FOUQUET OF TOURS attached to them explanatory notes, as follows : " Charles VII copid apris une miniature dans une priire d' heures faite pour Etienne Chevalier, trd- sorier general de France sous ce Prince " ; and again, " Copie d apris 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 Bale and bought by George Brentano la Roche of Frankfurt, whence in 1 89 1 they passed to the Due 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 kntoWng in prayer amid a beautiful landscape ; a Mariensippe {Genealogy ofthe Blessed Virgin) in the Bibliotheque Nationale, Paris ; a fragment in the Louvre representing St. Margaret with a landscape back ground ; and yet one more, St. Martin dividing his mantle, in the Conches Collection. The forty miniatures at Chantilly are hung upon the walls of the Santuario — so called by the Due d'Aumale because it sheltered his greatest treasures — i.e. the forty Fouquets, Raphael's famous Graces, Plate XLIV. riiotu. (liraudoii. THE VISITATION. Jean Foiniuec. MustV ((.ndc. RENAISSANCE ARCHITECTURE 187 the beautiful painting of Esther before Ahasuerus and the Madonna of the Maison d'Orldans. The miniature representing Etienne Chevalier with his Patron St. Stephen^ 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.^ 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 minia ture gives to it a strongly symbolic character, and may be likened to the dying rays of the sun of Mediaeval Art, to which the artist desired to be not wholly indifferent. These exquisite designs clearly exhibit the genius of an artist who had been pro foundly 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 1 See Plate XL. « gee Plate LXI. i88 JEAN FOUQUET OF TOUES superior to the life-size portrait of the same person now at Berlin. It is this smaller presentation that Gaignidres has copied in his Receuils. The Marriage of the Virgin ^ 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 Falstafiian 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 Bibliotheque 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 1 See Plate XLII. Plate XLV. Ptioto. (4ii-audon. THE BIRTH OF ST. JOHN THE BAPTIST. Jean Fomiuet. IVIusee r'linde. COLUMNS OF THE OLD ST. PETER 189 flank the central arch record the gilt bronze columns once grouped around the Cottfession 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 Atitiquitates Judceorutn in a scene where the victorious Potnpey enters the Tetnple in triutnph. As a strong contrast to this composition, where Renaissance and classic architecture are happily blended, the Atmunciation ^ 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 Perreal's triptych at Moulins. The scene of the Visitation"^ is a portico sup ported by marble columns, upon the frieze of which is inscribed the words " M aist re Etietine 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. 1 See Plate XLIII. ^ ggg pi^^g XLIV. I90 JEAN FOUQUET OF TOURS Next follows the Birth oJ St. Johti ^ in the chamber of a French home. To the left neigh bours 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 repre sent the Mother of God is indicated by the fact that her nimbus is unusually large. In the Ghir- landajo 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 in scribed the letter D, and within it is a soldier holding a shield, which in turn bears the initials E. C. {Etietine 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 Magniflcat, 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 minia tures, which we may observe again in no less than nineteen out ofthe forty miniatures now at Chantilly. This composition of the Birth oJ St. John exhibits, perhaps more than any of the preceding, the freedom with which Fouquet treats these Biblical scenes. 1 See Plate XLV. Plate XLVI. Photo. Giraudou. THE ADORATION OF THE MAGL Jean Fouquet, Musee Condt. FOUQUET'S HUMOROUS NOTE 191 The same free tendency may be observed also in the Nativity oJ Christ and in the Adoration oJ 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 Due 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 back ground is the Chateau de Chinon, whither Charles VII retired during the English occu pation 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. 192 JEAN FOUQUET OF TOURS The Cruciflxion in this series does not attain to the high level of the similar episode in the Tris 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 back ground the death of Judas Iscariot is most drama tically represented. The Cruciflxion scene in the Tris Riches Heures is, as we have already re marked, a most powerful creation, and by the in troduction 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 frotn 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 Arimathaea holds a vase of ointment, while a man with a peaked turban close at hand has been pointed out as Gamaliel, the the teacher of St. Paul. 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 up wards. Amongst the disciples gazing Heaven wards 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 Plate XLVII. Plioto. KiraiKliin. THE ASCENSION. Jean Fouquet. Musee Conde. FOUQUET INSPIRED BY MASACCIO 193 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 Annunciatioti to the Blessed Virgin of her approaching death ; and in accordance with the Legenda Aurea the Arch angel Gabriel is presenting her with the palm of Paradise. This is a somewhat unusual scene,^ 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 Corotiation of the Virgin does not, as with the Limbourgs or Enguer- rand 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 Enthronemetit of the ^ We find this composition also in Duccio's famous altarpiece at Sieji.i. 13 194 JEAN FOUQUET OF TOURS Virgitt, a scene which Bossuet describes as follows : " Le del aussi bien que la terre a ses triomphes, et t exaltation de la Sainte Vierge dans le trdne que sonflls lui destine doit faire un des beaux jours de tdternitd!' 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! 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. 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 1 All Saints' Day. See Plate XLVIII. Plate XLVIII, Photo. Giraudon, ALL-SAINTS'-DAY. Jean Fouquet. Musee Conde, CHARACTERISTICS OF FRENCH ART 195 wilful destruction. In these miniatures are appar ent 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 PERREAL 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 cir cumstances 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 men tion of them in his fourtiaT as follows : " La maison ette oil tiaquit feantie d'Arc est toutes peitttes de ses gestes; mais lorage en a fort corrotnpu la peinture " — a further proof of the havoc played upon early French Art by time and neglect. 1 Journal du voyage de Michel Montaigne, i. p. 17. 196 SIMON MARMION 197 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 as cribed 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 Perrdal, 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 H6tel 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 13* 198 JEAN PERREAL AND BOURDICHON 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,^ who died in childhood, has been attributed to Bourdichon ; and a similar portrait, representing his younger brother Charles, which came to light only recently ^ and was acquired by the Louvre, is evidently by the same hand.' Bourdichon's skill can be traced with greater certainty in various Books of Hours'": i.e. the " Heures d'Aragon" a small volume adorned with graceful miniatures considered by M. E. Male 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 Madontta 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 1 In the collection of Mr. Ayr in London. ' M. Leprieur, Gazette des Beaux Arts, January 191 1. ' 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. * 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. THE MAITRE de moulins 199 companions on the Frontispiece it is purely con ventional 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 decora tion. 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 Mus^e Cond^ which really can be attributed to him with any certainty. With Jean Perrdal it is different. He is the artist who has been identified by some authorities with the mysterious Mattre de Moulins. It was M. de Maulde and Henri Bouchot who first pro pounded 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 Perrdal at the beginning of his career lived at Moulins, where he held the post of Court-Painter to Due Pierre de Bourbon ; and 200 JEAN PERREAL AND BOURDICHON that there he had the opportunity of study ing Fouquet's miniatures in the Atitiquitates Judceorutn, then an heirloom in the Ducal Library. Like Bourdichon Perrdal appears to have had no taste for landscape, and it was chiefly por traiture that attracted him. This branch of art was, in fact, the prevailing interest of his time, and that so-called inquidtude 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 dAtijou ' and another in the Bible Historide^ The well-known portrait oif ean le Bott, father of Charles V of France, in the Bibliothdque 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 Gaignieres at Oyron, an old chateau of the Gouffier family, and was the only painting which the Regent in 17 17 thought worth keeping out of the sale of this collector's treasures. It is ascribed to Girard d'Orldans, who is recorded as having assisted Jean de Coste to decorate the Chiteau de Vaudreuil. Girard is also known to 1 MS. 18014, Bibl. Nat. Paris. ^ There is a portrait of the same monarch in a MS. at The Hague {copied for Gaignieres) 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//rfi?r regis. PAINTINGS IN ST. STEPHEN'S CHAPEL 201 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.^ 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,^ through which England would appear to have a reason to claim — as suggested by Mr. Lionel Cust ^ — priority in time over France. On the other hand, there is nothing in England to compare with the ex quisite miniature portrait of the Due de Berry in the Tris Riches Heures or with the work of Fouquet half a century later. The portrait in the Tris Riches Heures of the Due 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 Gaignidres. ^ The three others, representing Edtvard III, Charles IV of Germany, and Charles, Duke of Normandy (afterwards Charles V of France), have unfortunately disappeared. * The Magi with the Fortraits of Edward III and Queen Fhilippa as Donors. ^ History of Art in England (Burlington Fine Arts Club Exhibition, 1909). 202 JEAN PERREAL AND BOURDICHON Its date is 1415 and a miniature of it is to be found in the Livre d Heures which once belonged to King Rend.^ 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 Prin cesses. The name of this artist has, unfortunately, not come down to us. 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 Perrdal we must first refer to the MS. de Saint Michel^ which is assigned to that master by no less an authority than Comte Paul Durrieu. And here, at least, we have some histori cal proof on which to rely. The Dedication to the King on the first page shows that this manuscript was a present from the Due 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 1 Bibliotheque Nationale, Paris. 2 A chef doeuvre of French miniature-painting during the reign of Charles VIII (Bibliotheque Nationale, Paris). :W L'hiiro. OiniiKldTi- ^L( nti^f^njil (hai'd ,.,^'S^ SEIGNEUR Attnbuteil to J. DE PALISSE. PtTlTivl. UVllOUt l-"l COMTE DE LIGNY. Atlnbutnl til J. Prirtal. (.\liiiut l.W.^i). :\Iusi;e rmiilL i'll fiKC p,\.KL- -'o-'. MS. DE SAINT MICHEL 203 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 float ing angels in the triptych at Moulins attributed to Perrdal. Moreover, in the same MS. there is a drawing of a head in profile which recalls a drawing at Chantilly attributed to Perrdal, representing the Cotnte 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 Perrdal 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 Nation ale at Florence. A drawing, also at the Musde Condd, repre senting Lescueur, Bourdillon, and another which, although supposed by Bouchot to be Anne de Montmorency, is apparently meant for Louis XII,^ have decided affinity with this portrait of de Ligny and with the profile-head in the St. Michel manuscript assigned to Perrdal. We must remark, however, that these drawings are inferior in crafts manship 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 ^ 1 See Plate LII. * Gazette des Beaux Arts, June 1907. 204 JEAN PERREAL AND BOURDICHON discovered the name of Erastnus 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,' assign the original drawings of the Preux to Perrdal. It is strange that Bouchot and Dimier, and also Maulde La Claviere, accept as a foregone con clusion 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 Perrdal, who at the time of the ^ Louise M. Richter, Monatshefte fiir Kunstwissenschaft, July 1909. 2 : O 5 Z - ¦s n O "i H 3 Q ^ H 2 D ; i^^ m Ch D S i-s O) < *^ p< ^ w ¦^ I -p^i" LES PREUX DE MARIGNAN 205 Battle of Marignan was Court-Painter, received from Francis I the commission to portray his famous comrades, Artur and Guillaume Gouffier, Just de Tournon!^ Odet de Foix^ Fleuranges, the Seigneur de la Palis sef and Anne de Mont- inorettcy. 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 Frangois. Yet we know that Perrdal 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 datnes de par dega" and referred to him as a " portraitiste de visages, qui peint de petits portraits sur parchemin, et sans rival ett Italic!' * Some years later, after the death of his Queen, the aged monarch sent Perrdal 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. 1 See Plate L. * See Plate LII. 3 See Plate XLIX. * Lettres de Louis XII, NouveUe cite de F Heptameron. 2o6 JEAN PERREAL AND BOURDICHON Yet another drawing at Chantilly may be attributed to Perrdal representing Guillaume de Motittiwrency^ 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 Perrdal 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. As for the miniatures in the MS. of the Gallic War there can be no doubt that they were repro duced from the original drawings at Chantilly, ttot because the author of the grisailles in that manu script 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 Ceesar, probably copied from an old cameo ; whilst the miniature ofthe King 1 See Plate II. ¦te^: ' '[¦¦^ ^M M fejlA m^ c ^ ^ . 4. w ^ Q c H .^ W £ ° I 5 4]- .H' ,}, I X S >» t^ o -^ ANNE DE BRETAGNE AND PERREAL 209 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 Perrdal as stated worked with pencil and chalk some time before the appearance upon the scene of Jean Clouet. In spite of the re grettable 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. Perrdal 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, Franfois, Due de Bretagne, and his wife Marguerite de Foix, at Nantes — a monu ment 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 Perrdal'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 (1476-15 15) in the Metropolitan Museum (New York) there is a master piece 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 Perrdal 14 2IO JEAN PERREAL AND BOURDICHON (draughtsman), modelled by Nicolas Leclerc and Jehan de Saint-Priest (sculptors) and cast by Jehan Lepdre (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 ofthe marriage of Louis XII with the widow of Charles VIII. It was formerly sup posed to be of Italian origin but is now authori tatively assigned to Jean Perrdal. Reproductions of these medals, but smaller in size, are at the Vic toria 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. HWP OU2: < o CHAPTER XVI JEAN CLOUET The veil of oblivion which so undeservedly fell upon Perrdal 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^ and Francois, who brought to its zenith the art of drawing in sixteenth-century France. Jean Clouet,^ also known as Jeannet, migrated to France and settled at Tours, where he presently married Jeanne Boucault, the daughter of a gold smith. He first appears in the Royal Accounts in 1 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. 2 See Plate LIII. 212 JEAN CLOUET 1 516 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 ' 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 ^ to Fontainebleau in order to convey to His Majesty portraits done by her husband: "Pour apporter et monstrer au did seigneur aucuns ouvrages du did Jeannet." After the death of Perrdal in 1528 Jean Clouet re mained 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 Find, 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 ' Flusiers portraits et effigies au vif qu^il a faictes, Laborde, La Renaissance, p. 15. ^ Laborde, Comptes des Batiments, III, p. 237. Plate LIV. THE DAUPHIN FRANCOIS, ELDEST SON OF FRANCIS I. Antwerp Mubruiii. THE ARTIST'S METHODS 213 Marignan. The portrait of Orotice Find, for example, bears far more resemblance to that of Due Claude de Guise} 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 Mati holding a volume of Petrarch, which is attributed to Jean Clouet. The original drawing for this some what later and more artistic piece of work is also at Chantilly. Another drawing likewise at Chantilly (a capital example of the artist's methods) repre sents 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,^ now recognised as an 1 See Plate LV. ^ See Plate LVI. 14* 214 JEAN CLOUET original work, is infinitely superior to the larger portrait,^ also in the Louvre, although both have evi dently 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 numer ous copies of it : for example, in the Mdjands Col lection at Aix ; in the Recueil Marriette ; and in the Recueil dOrange in England.^ 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 Francois Clouet, who had at that time just begun his artistic career under his father's direction. This is prob ably 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 1 See Plate LXII. ^ Formerly in the Heseltine Collection. m O s u o 5 Q < 4i >:il Q u « 'J D = W ^ O NUMEROUS PORTRAITS OF FRANCIS I 215 another even later portrait, of which there is a copy in the Louvre and a miniature in the Recueil du Tillet (Bibliothdque 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 Homtnes Illustres and Gautier in his Kings of France reproduce this same portrait. 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 repro duced 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, Fran9ois Clouet was commissioned to make. This again is only a copy; so that of these many and varied 2i6 JEAN CLOUET 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'Angoulime, sister of King Francis, in the bloom of her youth.^ Portraits of Queen Claude ^ 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 Brantdme 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 con siderable 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 Rende, which in craftsmanship recalls the drawing of Due Claude de Guise in the Musde Condd. Another far more 1 I am indebted for this information to Sir Sidney Colvin. ^ See Plate LVII. PLATE LVI. Pholo Giraudon. 216] FRANCIS I. Louvre. Jean Clouet. QUEEN CLAUDE IN FLORENCE 217 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 en hances its importance. Apparently this too is a copy of one of Jean Clouet's lost originals. The next drawings of interest by this artist in the portfolios at Chantilly are likenesses of the two Dauphins of France^ and of the other Royal Children : a portrait of the Dauphin Frangois, which was repeated in colours in an exquisite little panel now at Antwerp,^ with the slight difference that the Royal Child has exchanged his simple cap for a plumed hat ; and likenesses of Monsieur dOrldans (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 disas trous 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 Brantdme, the poor 1 See Plate LVIII. = See Plate LIV 2i8 JEAN CLOUET Dauphin had almost forgotten his native French, so that his younger brother had to assist him in making himself understood. The charming sketch at Chan tilly of the Dauphin Frangois wearing a plumed hat was evidently made after his safe return to France. A slight sketch shows Madeleitte 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 pros pect 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'Angouldme that she was induced to resume her morning walks in the gardens of Fon tainebleau 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 Gaignieres) 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 Plate LVII. I'lioco. Griraudon. QUEEN CLAUDE OF FRANCE. Attrihuteil to .1. rerrciii. About l.il.i ^jfa^r^^C Je ¦fty^: X llliscr Ciin.le. Photo, (Jirandon. RENEE OF FRANCE, DUCHESS OF FERRARA. .\[[ribiiteil 10 .Teali t'Inui't. i'o /(Ytt- /irtl^C 21&. MARGUERITE DE FRANCE 219 like her brother the Dauphin, whose portrait hangs in the same room. The words " Corneille Jecit" are written on the back of the frame by Gaignidres 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 Fran9ois Clouet made of this Prin cess ^ reveal that amiable disposition so much praised by Brantdme. He speaks of her as "la bontd du tnonde, charitable tnagniflque, liberate, 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 complica tions 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,^ the authoress of the Heptameron, although she occupied her mind with continual study and much 1 See Plate LXI. ^ See Plate LXII. 220 JEAN CLOUET 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 Rdnde at Ferrara Marguerite ^ 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 six teenth 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 1 See Plate LXI. Plate LVIII. ^}wf^ /( A'»«^fij <"< A^ .j"fHais J^r^aB?.. '('''^, w. THE DAUPHIN FRANCOIS, ELDEST SON OF FRANCIS I. Jean Clouet. ,A[nSL-e Conile. Plioto. Gii-nadon. HENRI D' ORLEANS, AFTERWARDS HENRI IL Attributpil to Jean ClouPt 7-,. /,„<• /.OM.- 120 RENEE DE FRANCE 221 her son, Charles Emmanuel of Savoy ; and Michel de I'Hopital declared that this Prince owed the success of his career entirely to her. The French Ambassador at Constantinople left to her his entire fortun e, 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. A likeness of Rdnde de France'^ which bears some affinity to the portrait of her sister Queen Claude is also to be found at Chantilly. It repre sents 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 ex tremely intelligent and studious, and during her time the Court of Ferrara became renowned as an intel lectual 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 Frangais de ma nation lesquelles si Dieu m'eut donnd barbe au menton, et que je fusse hotnme, seraient maintenant lous tnes sujet s, et si cette tndchante loi Salique ne tne tenait trap de rigueur." Rdnde was a strong adherent of the 1 See Plate LVII. 222 JEAN CLOUET 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.^ After the death of her husband the Dowager Duchess was exiled by her son, Alfonso, to Montar- gis,^ 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 Brantdme 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, Francois de Guise, for his cruel treatment of the Prince de Condd ; saying that " whoever had advised the King to take this course of action had done a great wrong." Notwithstanding her Cal- vinistic 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. Besides the portraits of the Valois princes and princesses at Chantilly there are a great number of 1 Cf. The Life of Benvenuto Cellini A new version by Robert H. Hobart Cust (London : George Bell & Sons, 1910). ' A town which formed part of her own dowry. ['."^J^-- H < CJ Po M^;<: w X « H <1F-1 ^ F^ ^ ^ ^ -a"^ ^ \ \r ^ ozw til How HISTORICAL PORTRAITS 223 likenesses of other interesting historical person ages. 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 Venddme d 'Alengon,^ mother of Antoine de Bourbon and of Louis I Prince de Condd (a drawing on a larger scale than most of the others) ; of the same size, Madame I Estrange,^ a lady renowned for her beauty and greatly beloved by the Dauphin Francois ; Henri dAlbret, King oJ Navarre ; Chandus, one of King Francis' most faithful officers ; and various portraits of Unknown Young Men. All these are ex cellently 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^ 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 Francois Clouet, who evidently executed it from the drawing at Chantilly. In this same connection may be mentioned the Sieur de Canaples,^ and the portrait of an Unknown Lady of singular force of 1 See Plate LIX. ^ gge Plate LX. ^ See Plate LV. ^ Admirable portraits of this same Sieur de Canaples, whose wife was one of the Fetite Bande of Francis I, are in the British Museum (Salting Collection) and at the Albertina, Vienna. 224 JEAN CLOUET expression, very plainly clad and without ornaments, who may perhaps be Jeatme Boucault ^ of Tours, Jean Clouet's own clever and devoted wife. 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',' ^ 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 chiteau on the Loire ; where there was provided for her a suite consisting of a lady-in-wait ing, 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 1 See Plate LIX. ^ ggg Plate LXI. ^Jy^a/^rrc /(T U/^^tie^ Plate LX. u ''--MP? ^a- "*^ii^t##^."'- 'f^'/V Pljoto. Giraudon. MADAME L'ESTRANGE. Attributed to Jean Clouet. About 1535 Musee Conde. JEANNE D'ALBRET IN HER GIRLHOOD 225 Charles V. It was probably at the moment when the Princess was about to leave the lonely chateau on the Loire that Francis commissioned Jean Clouet to secure for him a likeness of his niece before her departure for Bdarn. 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 Fran9ois Clouet succeeded his father as Court-Painter in 1541 is proved by a document in the " Trdsor des Chartres" which runs as follows : " Frangois par la grace de Dieu, roy de France, etc. . . . Savoir Jaisons . . . que voulant recon- tioistre envers nostre cher et bien aimd paindre et varlet de chambre ordinaire, Frangois Clouet les bons et agrdables services que Jeu M" Jehannet Clouet, son pire, aussi de son vivant nostre paindre et varlet de chatnbre, nous a durant son vivant Jaidz en son did estat et art, auquel il estoit tris expert et en quoy son did flls la ja tris bien itnitd, et espdrons qu'il Jer a et continuera encores de bien en tnieux cy apris, a icelluy, Frangois Clouet pour ces causes et affn que de ce Jaire il ayt tneilleure voullontd, moien et occasioti, avons donnd, odro'id, cedd et ddlaissd, tous et chacuns les biens tneubles et immeubles qui Jurent et appartendrent au did Me Jehannet Clouet, son pire, a nous advenuy et escheuz, adjugez et declarez appartetiir par droit daubine au moien de ce que 15 226 JEAN CLOUET le did deffunt estait estranger et non natif ne originaire des nostre royautne et ti avoit obtenu de nos predecesseurs roys ny de nous aucunes lettres de natur alitd et congid de tester" (published by E. de Freville, Arch, de I'art Frangais, 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 Fran5ois Clouet, his son, inherited all his privi leges and favours. Plate LXI. Jji, riri>>e i^4m?e t/c ;>r-x! S^^ ¦]]U«U ?-'T ^Uf^^y^-'>^'^, ^' v\ \ ) >' J y' y P=-^^-'^-C Phiitii. Giraiiilnn JEANNE D' ALBRET, WHEN A CHILD. Attiibutfd to Je.in Clouet. \ aU-^ MADAME MARGUERITE, SISTER OF HENRI IL AttriVmteil to Francois Clouet. ilusee Conde. Jo jacc f'agc 226. CHAPTER XVII FRANCOIS 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, Francois, 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 differ ences 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 ^ (niece of the famous Duchesse d'Estampe), better known under the name of " Hegli," and the 1 See Plate LXV. 227 228 FRANgOIS CLOUET beautiful daughter of Diane de Poitiers, called " Brasseu." ' Both of these portraits are ren dered 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 dUzez, 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 Francois Clouet was commissioned after his father's demise. A minia ture taken from this drawing is preserved in the Louvre. 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 ^ Collection Deligand, Paris. PLATE LXIT, Plioto. Ifaii.Utaeni.il. Plioto. (tiraiiilun. Francis I. .Attributed to .Jeiiu Clouet. Louvre. Mai'f;uei'ite of Angoult'ine. (Sister of Francis I. and QuePii of Navari-e) .Attiibuted to Franooi.s Clouet. Musee Conde. PORTRAITS OF THE ROYAL CHILDREN 229 Germain le Mannier^ 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 flaticde, Mary, Queen oJ 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 di;awings there is a letter still extant, written on June i 1552 by Queen Catherine to M. Humidres (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,^ painted "sans rien oublier de leur visages." There is also a letter from Henri II, written on the eve ofhis accession, express ing a desire to recompense the painter Mannier. This, however, did not prevent him, as soon as he became King, from taking up Fran(jois 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, "LeRoy Henry 2"^ : hand writing which bears close similarity to an existing quittance signed F. Clouet. This drawing, now in the Bibliothdque Nationale at Paris, became very ^ G. Moreau Nelaton, Les Le Mannier. ^ See Frontispiece. 3 See Plate X. 15* 230 FRANgOIS CLOUET 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 Conndtable, Anne de Mont- moreticy! evidently taken from life. In this draw ing 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 Vamie du roi, Diane de Poitiers.^ This famous lady herself sat to Francois Clouet, and so apparently about the same time did Catherine de Medicis, and also Jeanne d'Albret,^ 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 Me dicis, past mistress in the art of dissimulation. 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 1 See Plate IV. 2 See Plate LXVIII. 5 See Plate IX. Plate LXIII. Plioto. Haiifstaeiii^t. CHARLES IX. Franpois Clouet About 1569. Vienna Gallerj'. CATHERINE DE MEDICIS AT LYONS 231 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. Brant6me 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 re visited 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 Bibliothdque Nationale, which are considered as marking the height of this artist's power. Such, for instance, are the portraits of Mardchal Strozzi (1567) and of Mardchal de Vielville'^ (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 1 See Plate LXXI, British Museum, Salting Collection. 232 FRANgOIS CLOUET 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 Bibliothdque Nationale of the boy-King Francis IP 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 minia ture at Windsor, which is said to have been repro duced 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.^ 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 prob ably executed by Francois Clouet when she was on the point of leaving her beloved France. This is 1 See Plate VIII. 2 The painting in the Victoria and Albert Museum (Jones Collection) is also an echo of this same drawing. PJTi'VJf.; Io ?iiiydm} .p. ft? '.V\- -^¦¦J'' Til f,l MARGOT DE FRANCE 233 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 im parted to the portraits of this unhappy Queen seems entirely absent from all the numerous likenesses sub sequently 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. Fran9ois Clouet's highest capabilities may be traced in the water-colour sketch at Chantilly which represents Margot de France^ 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 dtait demeurd en extase devant le miroir delicieuse de la tnignonne!' 1 See Plate LXVII. 234 FRANCOIS CLOUET 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 Francois 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 cos tume 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. Another portrait by Francois 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, pro bably also by F^an^ois Clouet, but the exquisite Plate LXV. ¦--rtjS^ -T^ V^ ^ I'lidtii. (;iraucl"ii. ELISABETH OF AUSTRIA, QUEEN OF FRANCE. Fraui^Dis Cloiiel. (Aliuut l.')(i7) Bibl. N.-.t. Paris. :'?)>;..... ' '.'K.y} , riMito. (iMMiidon, JOSSINE DE PISSELEU, NICKNAMED HEGLI. Fraiivoit- ('Inui't (Abmir, Ahi2). Musee Cim.U-. To face f'. f.1 Ku [J DIANE DE POITIERS. Franqois Clouet About l.ir.S. Musee Coinle. THE PALAIS DE TOURNELLE 241 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 por traits) 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, i 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 Musde Condd. 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 Mejands 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 Chan tilly 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 16 242 FRAN(:OIS CLOUET have composed the remarks which are written on the margins. They are suggestive and often witty ; in deed none but the King himself would have dared to fling at Mary Tudor ^ of England the insulting words "plus sale que royale"; whilst Diane de Poitiers is greeted with the flattering remark, "Jair 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 valu able 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. Henri de Mesmes, a gentleman of whom Brantdme speaks as " un tris grand habile et subtil personnage ddtat 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 en graving from a portrait of Charles IX on his 1 See Plate LXIX. Plate I^TY dy^t/imi /c /C;.//A. rf? ^yx/e' MARY TUDOR, QUEEN OF FRANCE. Cop3' after Perieal. / > KjSbS^ x^ ¦~^%. pf;. Plinto. ( iruuldi MADAME DE BOUILLON. jUtribiUcd to Jean CIciuet. JlusLe Conde. CATHERINE A SEVERE CRITIC 243 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 Francois Clouet himself. One of the last works of Franfois Clouet was a miniature of Elizabeth oJ 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. Bartholo mew ; 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 conven tional. 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 tho.se small portraits, painted upon light- green or light-blue backgrounds, which may be 244 FRANCOIS CLOUET found scattered throughout the Galleries of Europe. As already mentioned, a likeness of the Dauphin Frangois^ at Chantilly (Tribune) has been attributed to him by Gaignidres, to whom it once belonged. It is on the authority of this connoisseur that other portraits in the Musde Condd exhibiting the same style are by comparison assigned to him : such, for instance, as Le Grand Ecuyer de Boisy, Mar guerite de France (sister of Henri II), Madatne de Martignd 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'Elbceuf, 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 IH does not suffer in comparison with the portraits of Charles IX attributed to Francois Clouet. The pencil drawing of Marie Touchet, Charles IX's mistress, in the Bibliothdque Nationale is also attributed to him. The painter who acquired the old Queen's special favour after the death of Francois Clouet was Carron, who made a series of designs (repro- » See Plate LXX. PLATE LXX. Pholo Giraudon. 244] FRANCOIS, DAUPHIN .Uicit-V Conde. Corneille de Lyon. HENRI DE GUISE BY DUMOUSTIER 245 duced in tapestry) from the History of Artetnisia, in which Catherine herself is represented mourn ing for Henri II in the guise of the Queen of Caria. A drawing by Carron representing the Due d Alengon, her youngest son, on horseback is in the passage of the Tribune at Chantilly. Pierre Gourdel, Dubois and Bussel, followers of Francois Clouet, are only known to us by me diocre 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 Chan tilly and elsewhere. They suffer from an exagger ated 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, how ever, 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 Due de Guise ^ of the Princess Palatine (the devoted friend of the Grand Condd), and an interesting portrait of Henriette de Fratice 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 Francois Clouet. In company with his sons Pierre and Nicolas 1 See Plate LXXI. 16* 246 FRANgOIS CLOUET 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 por traits at Chantilly (Cabinet Clouet) which are attributed to Frangois Quesnel : that of the Due de Sully and of his brother Philippe de Bethune. These paintings markedly display the strong ten dencies to realism so characteristic of the Brothers Quesnel. Yet another French picture at Chantilly of the Clouet School has to be recorded, the authorship of which is uncertain. It represents Gabrielle dEstrdes, 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 Viscom- tesse de Zanzd. In this last example one of Gabri- elle'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 Plate LXXI Cl ¦H JSUtufchf-i crt^Shmje.tii.iu.^ ,zd?0 o H*?X > i It: ¦X. fl ^-"^ .^ .^iife'^^*|g' .J, '1-4' H M OG H > r> ts XX LANCRET AND DE TROY 259 His relations with Crozat, the famous financier and collector, who was the first to recognise his genius, began in 161 2, 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. Lancret was a younger contemporary of Watteau, and observing his success adopted his style ; without, however, attaining to his eminence. His Ddjeuner 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 Ddjeuner dHuttres. The host in this latter composition — a figure dressed in scarlet — is prob ably 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 cer tainly enjoying their oysters and iced champagne ; and the satisfaction of the well-fed is clearly ex hibited 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 26o FROM NICOLAS POUSSIN TO COROT 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 Condd uni forms 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 Chateau 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 Condd 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 hand some 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. FRENCH BOURGEOIS ART AND GREUZE 261 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 Revolu tion, when ruin fell upon so many of the artists of that day. His portrait of the Duchesse de Chartres, mother of Louis Philippe and grand mother of the Due 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 Musde Condd are considered to be among the best like nesses 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 : " Get artist est le premier entre nous qui se soit avisd de donner 17* 262 FROM NICOLAS POUSSIN TO COROT des tnoeurs dans tart." This remark applies to his Malddidion Paternelle, tAccordde du Village, etc. 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 tAccordde 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 Musde Condd 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 Wotnan in a Hat in the Wallace Collec tion is perhaps the most fascinating of them all, PLATE LXX-; Photo. Oirandon. Young Girl. By (.Jreuze. Mu.see Conde. MADAME VIGEE LE BRUN 263 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 Potnpadour, 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 Musde Carnevalet over the very bed occupied by her in the Temple before her execution ! Madame Vigde Le Brun carried the style of Greuze, at one time her master, into the middle of the nineteenth century. She is represented in the Musde Condd (Cabinet Clouet) by several small portraits : Marie Carolitie, Queen of Naples, painted in 1768, and her two daughters, Marie Thdrise Caroline, wife of Francis II Emperor of Austria, and Marie Louise fosephine, wife of the Grand Duke of Tuscany. Whilst the first two of 264 FROM NICOLAS POUSSIN TO COROT these appear to be copies of already existing pictures the portrait of Marie Louise Josephine, Queen oJ 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 1 80 1, 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, com missioned Fragonard to paint small portraits of the Princes and Princesses of the Royal House ^ of Bourbon and the House of Bourbon Condd. Among these are portraits of the Dauphin Louis, son of Louis XVI, and of the Due d'Enghien by whose tragic death the Condd 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, land scape, portraits, interiors, and historical subjects. When in 1765 he exhibited his Callirhod and Cordsus (a subject taken from the poet Roy) Diderot and ^ These are exhibited in one of the rooms of the Petit Chateau. FRAGONARD'S PORTRAITS 265 Grimm thought for a moment that he might resusci tate 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 por trait-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 Musde Condd. 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." 266 FROM NICOLAS POUSSIN TO COROT 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 Revo lution and died in Spain. To the same artist is attributed the portrait of Louis Henri de Bourbon, Due d Enghien. He has an interesting face, recalling that of his ancestor the Great Condd, but there is a touch of melancholy in his expression, telling of adversity endured and appar ently foreshadowing his tragic death. His father, the last Prince de Condd, 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 Condd forces, that is, of the French dmigrds ; and we can detect the influence of Reynolds and Gains borough in the light, harmonious colouring of the composition, which was bought by the Due d'Aumale from a descendant of Robert Claridge, in whose house the last Condd 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 Egalitd and his son the Due 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 HORACE VERNET 267 less than four pictures by the latter in the Musde Condd : The Due d'Orleans {Louis Philippe) asking Jor hospitality from the Monks of St. Bernard ; a portrait of Louis Philippe, while still Due d'Orldans ; Le Parlement aire et leMedjeles, 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 181 2. Most fascin ating are Le Sommeil de Psychd, Homage ii Beautd, and a sketch^ of Joseph atid 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 con temptuously designated him as the "Boucher of to-day " ; but Napoleon commissioned him to paint portraits of both his Empresses, fosephine and Marie Louise, and conferred upon him the Cross of the Legion of Honour. For his own portrait the Emperor chose his 1 See Plate LXXIV. 268 FROM NICOLAS POUSSIN TO COROT official painter, Gdrard, who was at that time con sidered so great an exponent of this branch of art that he was styled " the painter of kings " and " the kitig 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 Gdrard was presented by Talleyrand to Louis XVIII ; and later still in 1820 Louis Philippe commissioned him to paint a portrait of the Duchesse d'Orldans (afterwards Queen Marie Amdlie) in a white robe adorned with pearls. This painting was highly treasured by the Due 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 Due dOrldans, Louis Philippe's eldest son, who met with an untimely end in a carriage accident. But Ary Scheffer's chef doeuvre at Chantilly is a portrait of Talleyrand, the most renowned and brilliant man of the Revolution, — a painting bequeathed to the Due d'Aumale by his friend Lord Holland. THE PORTRAIT OF TALLEYRAND 269 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. Geneviive 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 Frank fort. This artist is unfortunately not repre sented at Chantilly; nor is Jacques Louis David, whose vast canvases, the Sacre et t Intronisatioti de t 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 Due d'Aumale. A most impressive picture is Stratonice (Tri bune), painted for the Due d'Orldans, who desired it as a pendant for Delaroche's A ssassitiation of the 270 FROM NICOLAS POUSSIN TO COROT Due 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 Anadyomine, 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 A ssassination of Henri, Due 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 thei-r ghastly deed. This picture, which hangs in the Tribune, was painted by Delaroche specially for the Due d'Orldans. We now come to Eugdne Delacroix, who, in company with Gericault, is considered as the pioneer of Romanticism. His Capture of Const atitinople by the Crusaders at Chantilly is a vividly com posed 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 EUGfeNE DELACROIX 271 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 Des camps, 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 sensa tion which appealed to him so strongly, and which he was never weary of reproducing. Eugdne Fromentin, who was as celebrated as a writer as he was as a painter, is represented in the Musde Condd by one of his finest landscapes. Transported to the Marshes of Medeah, a country so well described by him in his book Un Etc 272 FROM NICOLAS POUSSIN TO COROT datis le Sahara, we see in the foreground three Bedouin chiefs, mounted on splendid Arab steeds, engaged in hawking. The atmosphere is trans parent 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 ofthe most accomplished men of his time. By his contemporary Meissonier there are several paintings at Chantilly ; the most important being Les Cuirassiers de 180^ avant le Cotnbat. 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 dimen sions, is another important historical picture, whilst Les Amateurs des Tableaux recalls a similar com position in the Wallace Collection. 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 d, cheval a Eylau^ where a gallant French officer with the cry " Haut les Tites " leads his regiment on 1 See Plate LXXVII. PL.\TE LXXVI. li Photo Giraudon. APAB CHIEFS HAWKING IN THE DESERT. MusJe Conde. Knce.ie Fronicnli: THE PICTURE OF DETAILLE 273 to victory. This is one of the chef d'ceuvres of this artist, whose recent death is so much to be deplored. Of quite a different natuie are the allegorical paintings of P. J. Aimd 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 Due d Autnale 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 revolu tion set in, caused by the exhibition of Con stable'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; 18 274 FROM NICOLAS POUSSIN TO COROT 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 Mddaille d'Of; 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 Sivres 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 Con stable, 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. PLATE LXXVII. THE GRENADIERS AT EYLAU. l-holo Giraudon. 274] THE BARBIZON SCHOOL 275 It is styled Le Concert Champitre ^ and recalls his series of paintings entitled Souvenir dltalie^ 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 Musde Condd, one of which repre sents Atnsterdam 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 Crdpuscule 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 Due d'Orldans. His landscapes in Auvergne are early works ; and those painted at Barbizon — such as the pictures above named — are later and more finished achievements. Duprds, 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 Chdteau de St. Cloud, a charming record of a spot full of memories, now no more. By Diaz de la Pena, the 1 See Plate LXXVIII. 276 FROM NICOLAS POUSSIN TO COROT 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 Chiteau 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. With Ldon Bonnat's fine portrait of the Due dAumale our description of the paintings at Chan tilly comes to an end ; but attention should yet be drawn to various pieces of sculpture exhibited in the apartments of the Chateau, on the ter races, in the gardens and in the Park. A fine figure oifeaime 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 Grattd Condd by Coyse- vox, surrounded by busts of Bossuet, La Bruyire, Moliire and Le Ndtre. 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 rt o 5 d o STATUE OF ANNE DE MONTMORENCY 277 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 Psychd ; and busts in marble of the Grand Cotidd and of Turenne by Derbais, of Richelieu and of the last Princes of the House of Bourbon- Condd, are placed in the Cabinet des Livres and in various other rooms. Fine bronzes by Barye, Mdne, 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 Porce lain, an industry founded in 1730 by the Due de Bourbon. A set of porcelain made at that time was placed in the King's Bedroom.' In the centre of the Galerie des Peintures stands a fine bust of the Due d'Aumale by Dubois, and in the Marble Hall lies his recumbent figure in full uniform by the same artist, a cast^ 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. 1 There are several examples of Chantilly porcelain in the Victoria and Albert Museum. 2 See Plate LXXIX. 18* 278 FROM NICOLAS POUSSIN TO COROT 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. '/,Pi 'A WH< W u INDEX Abdul Kader, Due d'Aumale's vic tory over, 117 Accordie du Village, Le, by Greuze, 262 Adoration of the Magi, by Jean Fouquet, 190, 191 Ahasuerus. See King Aill'y, Heures de. See Books of Hours Aix-la-Chapelle, Peace of, 79 Albano, a work by, 132 Albret, Due de. See Conde, fifth Prince de Albret, Henri de. King of Navarre, portraits of, 136, 141, 223 Albret, Jeanne de. Queen of Na varre, 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 Alen9on, Due de, portraits of, 141, 182, 24s Alen9on, Mme. Vendome de, por traits of, 222, 223, 239 Alen9on, MUe. de, and Due d'En ghien, 69 Alexandra, Queen, visits Chantilly, 122 A lley in the Wood, A n, by Dughet, 250 Allori, Alexander. See Bronzino All Saints' Day, by Fouquet, 194 Amante Inquiite, by Watteau, 258 Amateurs des Tableaux, Les, by Meissonier, in the Wallace Collec tion, 272 A mazon of the Vatican, a statuette, 137 Amboise, Cardinal George de, owner If, Jof 'Valere Maxime, 158 Ambrogio di Spinola, Marchese. See Spinola AmeUe, Queen, and the Due d'Au male's marriage, 117 " Amico di Sandro," 149 Amour Disarm^, Le, by Watteau, 258 Amphitryon, poem by MoUfire, 75 A msterdam at Eventide, by Anastasi, 275 Anastasi, A. P. C, 275 Angelic Choir, miniature by Simon Marmion, 197 Angera, disaster of, 25 Angleterre, Mme. Henriette de, por trait of, 253 AngoulSme, Due de. See Francis I Angoulfime, Duchesse de (formerly Diane de France), marriage, 9 ; portrait of, 151 AngoulSme, Marguerite (sister of Francis I), portraits of, 141, 216, 228 ; manuscript of, 158 Anjou, Due de. See Henri III Anjou, Louis II of. King of Sicily, portrait of, 201 Anne of Austria, character, 40 ; and the Grand Conde, 44, 45, 47, 55, 56, 64 ; and Princesse de Conde, 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, 2 10 ; her daughter's marriage, 216 279 28o INDEX 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 Judcsorum 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. Aristot\&'s Ethics, 157 Armagnac, Comte de, war with Due de Bourbon, 162 Arsenal'M.S., 159 n. Artemisia, History of, 244 Artois, Due de (afterwards Charles X), marriage, 10 1, 102 ; leaves France, 104; at Coblenz, 109, no Ascension, The, by Jean Fouquet, 192 Ashmolean Collection at Oxford, 241 Assassination of the Due de Guise, The, by Delaroche, 134, 269, 270 Athena of Lemnos, famous bronze, 136 Aumale, Due de (Henri d'Orleans), Lord of Chantilly : Histoire des Princes de Conde, 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 w., 220, 273, 276, 277 ; collects the art treasures of the Mus6e Conde, 1 29- 153 ; Victor Hugo's letter, 147 ; on Raphael's Three Graces, 149 ; French illuminated manuscripts at Chantilly, 154-164; the Ca binet des Livres, 156; Les Tris Riches Heures du Due de Berry, 165-178 ; works of Jean Fouquet, 179-195 ; Jean Perreal, Bour dichon, and others, 196-210; Jean Clouet, 211-226; Frangois Clouet, 225-247 ; from Nicholas Poussin to Corot, 248 et seq. ; tomb of, 278 Aumont, Due de, portrait by Ques nel, 142 Auneau, Victory of, 26 Austria, Elizabeth of, portrait of, 234, 235 ; miniature of, 243 Austria, Margaret of, and the Tris Riches Heures, 162, 163 ; and Jean Fouquet, 181 ; and Jean Perreal, 209 Autumn, by Botticelli, 145 A vant et apris le Combat, by Protais, 13s Averoldi family, Ecce Homo pur chased from, 135 Ayr Collection, portrait of Prince Orlant, 198 Bacchus and Ariadne, antique sar cophagus, 137 Baccio del Bene, ItaUan author, 220 Ball under the Colonnade, by Wat teau, 259 Balthazar, a Spanish hound, by Desportes, 255 Bandol, Johannes, painter, 200 Barbangon, Princesse de, by Van Dyck, 132 Barberini, Cardinal, and Quesnoy the sculptor, 249 Barbizon school, 274, 275 Bardon, M., painter, 8 INDEX 281 Baroccio, Federigo, painter, 132 Bartolozzi, Louis Joseph de Bourbon, 265 Barye, bronzes by, 277 Bassompere, Marechal de, his mar riage, II Battave, Godfroy le, his work, 204 Baudrey, P. J. Aime, allegorical painter, 273 Bavaria, Marie Anne of, portrait of, 138 Beam, Henride, andtheProtestants, 21 Beaubrun, his portraits of Comte de Cossi Brissac, Mme. and Mile, de Longueville, 12, 133 ; the Grand Condi, 251 Beaujeu, Anne de, and Jean Perreal, 207 n. Beaujeu, Pierre de, 183 Beauneveu, Andre, a Book of Hours, I'/'j n. ; Antiquitates Judcsorum, 182 Bellay, Du, poet, and Marguerite de France, 220, 221 Belles Heures de Jean de Berry. See Book of Hours Belliivre, Pomponne de, portrait of, 252 Benedict XIV, Pope, portrait by Suleyras, 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, Due de, Les Tris Riches Heures, 130, 160, 161, 165 et seq. ; his illuminated manuscripts, 157 ; portrait of, 20 1 Berry, Duchesse de, at Chantilly, 91 Bersuire, Pierre, translator of Livy's Second Decade, 157 Bethune album, 241 Bethune, Philippe de, portrait by Frangois Quesnel, 246 Betrayal, by Jean Fouquet, 191 Bible Historiie, 200 Bible Moralisee, 179 Birth of St. John the Baptist, by Jean Fouquet, 188, 190 Bissolo, Madonna holding the In fant 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 Marig nan, 6 Boisy, Le Grand Ecuyer de, por trait of, 244 Bonheur, Rosa, A Shepherd in the Pyrenees, 135 Bonnat, Leon, portrait of Due d'A u- male, 126, 276 Bonnivet, Gouffier de. Battle of Marignan, 6 Book of Hours : ( I ) of fourteenth century, owned by Frangois de Guise, 1 50 (2) of Anne de Beaujeu, 198 n. (3) of Anne de Montmorency, 158 (4) of Catherine de Medicis, 215 (5) of Etienne Chevalier, minia tures by Jean Fouquet, 152, 181 (6) belonging to Maurice de Rothschild, 160 (7) Belles Heures dejean de Berry, also called Heures d'Ailly, by Limbourg brothers, 179, 184, 185 (8) Heures d'Anjou, 200 (9) Heures d'Aragon, by Bour dichon, 198 (10) Livres d'Heures, 202 (11) Tris Belles Heures, or Hours of Turin, by Hesdin, 165, 177 n. 282 INDEX Book of Hours — Cont. (12) Tris Riches Heures du Due de Berry, by the Limbourg brothers, 130, 152, 154, 156, 158, 160, 162, i6^etseq. Bora, Catherine de, portrait by Pourbus, 142 Bordeaux, Claire-Clemence at, 52, 53 ; as a Repubhc, 59, 60 ; sur renders to the King, 62 Bossuet, Jacq., the famous Prelate, at Chantilly, 83 ; and the Grand Conde, 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, Frangois, French painter, Watteau, 143, 257 ; cartoon by, 256 Bouchot, Henri, 199, 204, 208, 235 Bouillon.Duchesse, joins theFronde, 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, CaroUne Auguste de, mar riage to the Due d'Aumale, 117 Bourbon, Charles de, the famous Constable, death, 16 Bourbon, Due de. See Bourbon, LouisHenry Joseph; Conde, sixth, seventh, and eighth Princes de Bourbon, GeneviSve. See Longue ville, Mme. de Bourbon, Henri I de. See Conde, second Prince de Bourbon, Henri II de. See Conde, third Prince de Bourbon, Henri de. King of Na varre. See Henri IV Bourbon, Henri Jules de. See Conde, fifth Prince de Bourbon, Jacob de, 16 Bourbon, Louis I de. See Cond6, first Prince de Bourbon, Louis II de. See Conde, fourth Prince de Bourbon, Louis Henry Joseph de (Due d'Enghien, son of eighth Prince de Conde, known as Due de Bourbon, last of the Cond6s), birth 96 ; early marriage, 97 ; at Chantilly, 98, 99 ; separated from his wife, 100 ; leaves France, 104, 105 ; return to Chantilly, III; death of his father, 113; reconciUation with and death of his wife, 113; and his godson, 114; death, 114, 115; portraits of, 114, 266 Bourbon, Louis Joseph de. See Conde, eighth Prince de Bourdelot, Jean, and the Grand Conde, 84 Bourdichon, a follower of Jean Fouquet, 197, 207 ; his works, 198, 199 BourdiUon, Lescueur, portraitof , 203 Bourgogne, Antoine de, the Grand Bdtard, portraits of, 62, 142 Bouts, Dierick, Procession, 146 Braganza, Due de (afterwards King of Portugal), betrothal, 124 ; as sassination, 124 n. Brandenburg, WilUam, Margrave of, guards the Rhine, 82 Brantome, P. de : Diane de France, 9 ; Louis de Bourbon, 19 ; Due 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 INDEX 283 of forty miniatures by Jean Fou quet, 152, 186 Bretagne, Anne de. See Anne de Bretagne Bretagne, Frangois, the Duke of, tomb of, 42, 209 Breviary, fourteenth century, 150, 151 ; of BelleviUe, 160 ; Grimani, sixteenth century, 162, 163, 168 Breze, Marechal de, 35 Briados, a Spanish hound, by Des portes, 255 Bridgewater Madonna, 140 Brignole, Marie Catherine de, the widowed Princess of Monaco, marries eighth Prince de Cond6, 109 Brissac, Mardchal, 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 GobeUn Factory, 251, 252 Brun, Mme. Vigee Le, her works, 137. 263, 264 Bruydre, La, educates the Condes, 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 SenUs marble, 123 Bussel, a follower of Frangois Clouet, 245 Buti, Catherine, in La Toussaint, 194 Cabinet des Livres at Chantilly, 156 Cabotiire, La, 32 Caesar's Commentaries, 157 Cain, bronzes, 277 Calendar of months in Book of Hours, 152, 154, 156, 158, i5o, 162, 164, 166 et seq., 178 CallirhoS andCoresus, by Fragonard, 264 Canaletto, Antonio, 147 Canaples, Mme. de, portrait of, 244 Canaples, Sieur de, portraits of, 223 CantilUus, a GaUo-Roman, origin of name Chantilly, 3 Capture of Constantinople by the Crusaders, by Delacroix, 270 Capture of Jerusalem, by Poussin, 249 CarUsle, Lord, his coUection of French drawings, 151 Carmontelle, M., coUection of, 143, 144 ; portrait of, 144 Carracci, Annibale, paintings in Musee Conde, 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 ihe Chariot of the Sun, 141 ; Life of, by R. H. Cust, 222 n. Champaigne, PhiUppe de, portraits of Mazarin and Richelieu, 1 34 ; his work, 250 Champion, Jean, 212 Chandus, portrait of, 223 ChantiUy, Chateau of (see also Musee Conde), owners of, i et seq. ; origin of name, 3 ; the Mont morencys, 3-15 ; improvements and restorations, 5, 66 ei seq., 89, 90, 92, 118, 119, 121 ; windows. 284 INDEX 5, 8; pictures of, 6, 50; the Petit-Chateau, 7 ; its beauty, 9, 10 ; and the Condes, 16 et seq. ; confiscation and restoration of, 32, 106, 109, III, 112, 119, 121, 124, 125 ; the Grand Conde, 33-46 ; portraits, 42, 50 ; return of Prince and Princesse de Conde, 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; Due d'Aumale, Lord of Chantilly, 116 et seq; Musee Conde erected, 122, 123 ; be queathed 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 Perreal, 203, 208 Charles IX and Prince de Conde, 23 ; death, 24 ; portraits by Frangois Clouet, 141, 229, 230, 231, 244 Charles X confers the Medaille 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, Due de (afterwards Louis PhiUppe), portrait by Charles Vernet, 266 Chartres, Duchesse de, portrait by Duplessis, 261 Chasse au Faiicon en AlgSrie, La, by Fromentin, 139 Chasse du Loup and du Renard, by Oudry, 256 Chdteau de St. Cloud, by Dau bigny, 275 Chateaubriand, Monsieur de, 239 Chateauroux, Castle of, Claire- Clemence exiled to, 73 Chatillon, 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 ChevaUer, Etienne, 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, 1 50 Children of Israel led into Captivity by King Shalmaneser, 184 Chinon, Chateau 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, 1 30 Cit 6 de Dieu, 157 Claire-Clemence (wife of the Grand Conde), early marriage and excel lent quaUties of, 34 ; retires to a convent, 35 ; with her son at Chantilly, 41 ; sudden departure, 45 ; her husband's imprisonment. INDEX 285 49 ; her escape, 5 1 ; at Bordeaux, 52. S3. 59. 60 ; obtains her hus band'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 Condes, 266 Claude, Queen (wife of Francis I), portraits of, 216, 217, 218, 239 Clementia, 184 Clermont, Louise de, portrait of, 228, 25s Cleve, Marie de, marriage, 22 ; and Charles IX, 23 ; death, 24 Cl^ve, Philippe de, portrait by Holbein, 142 Clouet, Frangois, his works, 8, 20, 22, 26, 141, 151, 205, 208, 214, 215, 219, 223, 226-243, 246 ; succeeds his father as Court- painter to Frangois 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 , 2 10 ; marriage, 211 ; his methods and works, 212-226, 228, 242; death, 227 Clouet of Navarre (son of above), 211 Clovio, GiuUo, Christ on the Cross, 139 Coche de Marguerite, de la, manu script, 158 Codex with Fouquet's miniatures, 182-184 Colbert, pastel of, 142 ; and Le Brun, 251 Coligny, Admiral de, portrait of, 141 CoUgny, Dandelot de, 42 CoUgny, Gaspard, on the death of Francis II, 19 ; and the Cond6s, 21 ; death, 23 CoUgny, Odet de, a Cardinal, por trait of, 133, 236 ; history of, 237 Colnaghi, Messrs., sell portraits and pictures to Due d'Aumale, 133, 138 Colombe, Jean de, works of, 162, 171, 178, 197 Colombe, Michel, 209 Colonel Lepic d, Eylau, by Detail- leur, 152 Comptes de Lyon, by Perreal, 207 Concert Champetre, by Corot, 152, 275, 276 Conches Collection, 186 Conde family, the, 4, 16 et seq. Conde, first Prince de (Louis de Bourbon), 16 ; reUgion and mar riage, 17 ; imprisonment, 17, 18 ; release, 19 ; infidelities, 19 ; death, 20 ; portraits of, 18, 136 Conde, second Prince de (Henri I de Bourbon), portrait of, 18; and MUe. de Saint-Andre, 19 ; and his mother, 20 ; succeeds his father, 21 ; marriage, 22 ; and the Pro testant 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 Conde, 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 Conde, fourth Prince de (Louis II de Bourbon, Due d'Enghien, the " Grand Conde " ), baptism and education, -^^ ; early marriage. 286 INDEX 34 ; Ufe in Burgundy, 35, 36 ; elected general, j,-j ; victor of Rocroy, Thionville, and Nord- Ungen, 38-41 ; iUness, 41 ; in fluence 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 Vin cennes, 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, '^¦^ ; illustrious visitors and festivities at Chan tilly, 7S-77, 83 ; war with Hol land, 78 et seq. ; wounded, 81 ; return to Chantilly and death, 83 ; interest in scientific dis coveries and passion for the chase, 84 ; protects the Hugue nots, 85 ; and his grandson, 85 ; a free-thinker, 87 ; his death, 88 ; statues of, 89, 276 ; portraits of, 251 ; bust of, 277 Conde, fifth Prince de (Henri Jules de Bourbon, Due d'Albret, Due d'Enghien), son of the Grand Conde, 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, ¦;:i ; 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 Conde, sixth Prince de (Louis III, Due de Bourbon), early marriage and education, 85, 86 ; death, 91 Conde, seventh Prince de (Louis Henri, Due 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 Conde, eighth Prince de (Louis Joseph), condemns the Grand Conde's treatment of his wife, 74 ; early succession, 95 ; marriage and birth of a son, 96 ; gained victories of Grinningen and Jo hannesberg, 97 ; death of his wife, 97 ; illustrious visitors at Chan tilly, 98-104 ; leaves France owing to Revolution, 104 ; at Worms, 109 ; retires to Wan stead House, Wimbledon, 109 ; second marriage, 109 ; returns to Chantilly, in ; restores Chan tilly, III, 112 ; death, 113 ; and Jean Baptiste Huet, 260 ; and Fragonard, 264 ; portrait of, 265 Conde, ninth Prince de. See Bour bon, Louis Henri Joseph, Due de Conde, Henriette de Bourbon (Mme. de Vermandois), Abbess, 100 Conde, Histoire des Princes de, by Due d'Aumale, 38, 74 Conde, Louise de (daughter of eighth Prince de Conde), birth, 96 ; Ufe at Chantilly, 100, 10 1 ; and the Marquis de Gervaisais, 102,103; the French Revolution, INDEX 287 104 ; retires to a convent, 109 ; tragic death of Due d'Enghien, 109, no ; reception in England, no ; death, 115 Conde, Mme. la Princesse Douariere de, 35 Conde, Musee, 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 Tris Riches Heures du Due de Berry, 165-178 ; works of Jean Fouquet of Tours, 179-195 ; of Jean Perreal and Bourdichon, 196-210 ; of Jean Clouet, 211- 226 ; of Frangois Clouet, 227- 248 ; Catalogue Raisonnie of, 247 ; works of painters from Nicolas Poussin to Corot, 248-278 Conde, 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 Conde, 48 ; illness, 49 ; at Bordeaux, 60, 61; and Mazarin, 64 Conti, Frangois, Prince, nephew of the Grand Conde, 85 Conti, Louise Henriette de Bourbon, portrait by Nattier, 254 CorneiUe de Lyon, his works, 26, 141, 147, 218, 231, 242, 244 Corneille, Pierre, the Poet at Chan tiUy, 75, 83 Coronation of Charlemagne, by Fouquet, 82 Coronation of the Virgin, the. See Virgin Corot, Jean B. C, Le Concert Cham petre, 152, 274, 275, 276 Cosimo, Piero di, Simonetta Ves pucci, 146 Coste, Jean de, the Chateau 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 Chan tilly, 119 Coysevox, statueof fheGrand Conde, 276 Cripuscule en Sologne, Le, by Rous seau, 275 Croix, MUe. de la, 35 Crozat, M., the financier and collector, owned the Orleans Madonna, 140 ; and Watteau, 259 Crucifixion, The, in Les Tris Riches Heures, 177, 192 Cuirassiers, Les, by Meissonier, 152, 272 Cupid and Psyche, in windows at Chantilly, 5 Cust, H. Hobart, The Life of Ben venuto Cellini, 222 n. Cust, Lionel, History of Art in Eng land, 201 Czartoysky, Prince Ladislas, mar riage, 121 Damartin, Guy de, architect, 166 Dance of Angels, 135 Danloux, M.; portraits by, 114, 266 Dante's Inferno with Commentary by Guido of Pisa, 157 Daphne flying to her father's pro tection, by Poussin, 250 Daumet, M., rebuilds the Grand Chdteau, 122 Dauphin, the Grand (only son of Louis XIV.), at Chantilly, 90 ; portraits of, 138, 217 Dauphin Frangois, portraits of, 212, 217, 218, 220, 239, 244 288 INDEX Dauphin Louis (son of Louis XVI), portrait of, 264 David, JacquesLouis, and Prud'hon, 267 ; his works, 269 Dawes, Sophie, known as Baronne de Feuchdres, 115 Death of Ger-manicus, The, by Pous sin, 249 Dijeimer d'Huitres, by de Troy, 134, 259 Dijeuner de Jambon, by Lancret, 134. 259 Delacroix, Eugene, his works, 141, 270, 271 Delaroche, Paul, his works, 134, 269, 270 Delessert Sale, 139 Deligand Collection, 228 n., 239 DeUsle, 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, Rene, and the Grand Conde, 87 Descent from the Cross, by Fouquet, 192, 193 Descent of the Holy Ghost, by Fou quet, 193 Desportes, P., poet, his works, 132, 255, 256 ; and Jean de Court, 244 Detaille, Jean Baptiste, his works, 272, 273, 274 Detailleur, M., his finest work, 152 ; album, 241 Devancay, Mme. de, by Ingres, 147 Diane de France. See Angouleme, 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 Societe Nationale des Antiquaires de France, 240 n. Dinier, Louis, Les Portraits peints de Francois I, 1 5 1 «. Diodorus Siculus, translation of, 158 Disraeli, Benjamin, in praise of Due d'Aumale, 131 Distribution des Aigles, La, by David, 269 Divina Commedia, by Dante, 194 Domenichino, Domenico, and Pous sin, 249 Donato, San, Sale, 139 Donneur des Serenades, La, by Watteau, 258 Dourdan, Castle of, in Les Tris 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 Frangois Clouet, 245 ; statue of the Grand Montmorency, 276 ; bust and tomb of Due d'Aumale, 277, 278 Duccio's famous altar-piece at Siena, 193 n. Duchatel, Comte, at Chantilly, 119 Duclos, Mile., portrait of, 254 Dudley, Earl of, owner at one time of The Three Graces, 148, 149 Duel apris Is Bai, Le, by Gerome, 135 Duff-Gordon-Duff CoUection, 144 Dugardin, the goldsmith, frames the miniature of Elizabeth of A ustria, 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 gaUeries at VersaiUes, 261 INDEX 289 Duprfes, M., works by, 275 Duras, Duchesse de, a prisoner at Chantilly, 107 Diirer, Albert, celebrated artist. Virgin, 131 Durrieu, Comte Paul, 148 ; and the Tris Riches Heures, 161, 163 ; made reproduction of Hours of Turin, 165 ; and the medal of Emperor Constantine, 175 ; and the Fouquet miniatures, 1 82 ; and the MS. de Saint Michel, 202 Eaux Douces d'A sie, Les, by Diaz, 276 Ecce Homo, by Titian, 135 Edward III, portrait of, 201 n. Edward VII, visits Chantilly when Prince of Wales, 122 ; presenta tion of Fouquet's miniatures to President Fallieres, 184 Elboeuf, Mme. de, by Corneille, 244 Eleonore, Queen, portrait of, 133 Elizabeth of Austria, portraits of, 133. 234 Enghien, Due de (see also Bourbon, Louis Henri Joseph), son of Louis Henri, Due de Bourbon, 103; the French Revolution, 104, 105 ; execution by Napoleon, no ; portrait of, 264 Enthronement of the Virgin, by Fouquet, 193, 194 Eperon, Due de, the hated Governor of Bordeaux, 52 Erasmus, portrait of, 204 Estampes, Chateau de, in the Calendar of Months, 170 Estampes, Duchesse de (mistress of Francis I), intrigues of, 6 Este, Cardinal IppoUto de, 222 Esther as ¦ Queen, walking in her garden, in the Lichtenstein Gal lery at Vienna, 150, 151 19 Estrange, Madame le, portrait by Clouet of, 223, 224 Estrees, GabrieUe de (mistress of Henri IV), portraits of, 136, 142, 246, 247 Eugenius IV, Pope, portraitof, 180 Eve and the Apple, in Les Tris Riches Heures, 173 Everdingen, the master of Ruys dael, 146 Evreux, Jeanne de (wife of Charles IV) , Breviary executed for, 151, 160 Eyck, Hubert Van, works by, 146, 165 M. Fables de Marie de France, Les, 130 Fabre Collection, 145 Fagon, Dr. (physician to Louis XIV), portraits of, 248 Fall of the Rebel Angels, 175, 176 Fallidres, President, presentation of the Fouquet MSS. to, 184 Faure Sale, 141 Fel, Marie, operasinger, pastelof , 260 Fenelon, Frangois, at Chantilly, 83 Ferdinand III, Emperor, Peace of Westphalia, 44 Fermes en Normandie, by Rousseau, 275 Ferrara, Ercole, Due de, marriage, 221 Ferrara, Duchesse de. See Ren6e de France Filarete, Treatise on Architecture, 180 Flanders, invaded by Louis XIV, 78 Fleuranges, Marechal de, portrait of, 205 Fleury, Cardinal, and the Marquise de Prie, 94 Fleury, Robert, works by, 138 Foix, Odetde, portraits of, 205 ,208 Fontaine, La, at ChantiUy, 75 ; designs (executed in tapestry fromhis Fables, 256 290 INDEX Foscari, Tlie Two, by Delacroix, 141, 270, 271 Foulon, Benjamin, and the Le curieur album, 235 Fouquet of Tours, Jean (Court- painter to Louis XI), his works, 152. 153. 155. 156. 179-195. 202, 2o;^n. ; early history of, 180 Four Evangelists, 1 73 Fragonard, J. Honor6, painter, his works, 264, 265 France, Chronique de. See Chronique France, Diane de. See AngoulSme, 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 Na varre, 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), engage ment, 22 ; portraits of, 233, 234, 238 ; marriage, 243 France, Marguerite de (sister of Henri II), portraits of, 141, 218, 244; history of, 218-221 ; mar riage, 2ig France, Mme. Adelaide de, por trait of, 260 France, Ren6e de. See Renee France, war with Spain, 38 et seq. ; the Fronde rising, 44, 45 ; civil war, 55, 59 ; Peace of the Pyre nees, 64 ; invasion of Holland, 78-82 ; Revolution, 104, 105 ; gift of Mus6e Conde to the nation, 124 Francia, his Annunciation, 145 Francis I (formerly Due d'Angou- leme). 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 Perr6al, 205 ; his daughter Marguerite de France, 220 ; Princesse Jeanne, 224 Francis II, imprisonment of Louis de Bourbon-Cond6, 17, 18; ill ness, 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, manu script, 143 ; description of the castle of Mehun-sur- Yevre, 1 77 Fromentin, Eugdne (a celebrated writer and painter), his works, 139, 271, 272 Fronde, outbreak of the, 44, 45 Fry, Roger, and the Maitre de Mou lins, 199 Gaignidre, Robert, collection of French drawings, 141, 151, 156 ; his Receuils, 185, 188, 201 ; dis covers 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 'HefWeaux A rts, 1 72° TgS, 203 n. Genealogy of the Blessed Virgin, a Mariensippe, 186 George I, portrait of, 142 Georgette, by Greuze, 262 Gerard, Frangois (styled " the painter of Kings " and " King of Painters "), Queen Marie Am&lie, 137 ; Napoleon, 146, 268 INDEX 291 Gericault, M., 147 ; a pioneer of Romanticism, 270 G6rome, M., Le Duel apris le Bai, 135 Gervaisais, Marquis de, and Prin cess Louise de Cond6, 102, 103 Ghirlandajo frescoes, 190 GiUott, 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 Bdtard, 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 Condd, 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 Condd, 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 Fran gois Clouet, 245 Graces, The Three, by Raphael, 148, 149. 187 Grammont, Duchesse de, on the death of Henri de Bourbon- Condd, 28 Grammont, Marechal de, at Chan* tiUy. 75 Grenadiers A Cheval A 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 Raisonnie of the Musde Condd, 144, 247 ; on Les Tris 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, Due de (son of Ducd'Aumale), at Chantilly, 120, 121 ; deatb, 122 ; portrait by Clouet, 214 Guise, Due de (le Balafrd), miniature of, 138 Guise, Due Claude de, portrait of, 213 Guise, Henri, Due de, the War of the Four Henris, 25, 26 ; death, 26, 27 ; Assassination of, by Dela roche, 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 Hainan, Count, 165 n. " Hameau," a, at Chantilly, 98 Hamilton Palace Sale, 147, 150 Haros, Louis de (minister of Philip IV), Peace of the P)^enees, 64 ; portrait of, 143 Hauteville, Elizabeth de (after- 292 INDEX wards Comtesse de Beauvais), marries Cardinal Coligny, 237 Hawkiug, art revived by the Grand Condd, 84 Hay Wain, The, by Constable, 273 " HegU," 6 Heidelberg, Capture of, 82 Jlenri I de Eiourbon. See Condd, second Priace de Henri II creates Anne de Mont morency a Duke, 8 ; portraits of, 26, 133, 151, 236 Henri II de Bourbon. See Condd, third Prince de Henri III (formerly Due d'Anjou), admiration for Marie de Cldve, 22, 24 ; and the Huguenots, 23 ; battle at Coutras, 26 ; assassina tion of, 27 ; portraits of, 133, 141, 244 Henri IV (Henri de Bourbon, King of Navarre), admiration for Char lotte de Montmorency of Chan tiUy, 10, II, 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, Due 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 Tres Belles Heures, 165, 177 «. 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, Ldon, on date of Minerva, 136 Histoire des Princes de Condi, by Due 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 HoUand submerged to stay the French advance, 79 Holland, Lord, presents Talleyrand's portrait to Due d'Aumale, 138 Holy Family, by Jacopo Palma, 145 Hommes Illustres, Thevet's, 212, 215 Hopital, Michael de le, resignation of, 20 Hortense, Queen, owner of Chan tilly, 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 ChantiUy, 259, 260 Huet, Jean Baptiste (son of above), painter, 260 Hugo, Victor, his letter to the Due d'Aumale, 147, 148 Huguenots, Prince de Condd one of their leaders, 17 ; reUgious wars, 20, 21, 23-26 ; protected by the Grand Conde, 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 INDEX 293 Inventory of Charles V, 159 ; of the Palais de Tournelle, 241 Isabella, Archduchess, and the Princesse de Condd, 14, 15 Italian enamel, 141 ItaUan 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 Condd's vic tory 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 Jose^ibas, Antiquitates Judesorum of, 155, 181, 182, 185, 189, 200 Jott, Madame de, portrait by, 104 Joyeuse, Due de, battle of Coutias, 26 Jupiter, a bronze, 136 Just de Tournon. See Tournon Juvenal des Ursins, portrait of, 181 Kahn, Rudolph, presented Madame d'Elbasuf to the Louvre, 244 Kaiser Friedrich CoUection at Ber lin, 185 King Ahasuerus and Esther, 149 Kings of France. See Gautier Laborde, Comte de, his discoveries, 197 Laborde, Jean de. Songs of, 130 ; La Renaissaiwe and Comptes deS B Aliments, 212 n. Labruydre, Jean de, statue of, 89 19* Lagneau Brothers, their work, 245 Lami, Eugdne (painter), his work, 118 Lancai, Madame de, portrait by Corneille, 141 Lancret, Nicolas, his Dijeuner de Jambon, 134, 259 Langeais, Chateaux of, bequeathed to the French nation, 7 Langeron, Mme. de, hostess at Chantilly, 87 LargUUdre, Nicolas, his works, 133, 254 Last Judgment, by SignorelU, 131 Latour, Maurice Quentin de (painter), his works, 260 Lawrence, Sir Thomas, 149 Leclerc, Nicolas, sculptor, 210 Lecomte, Sauveur, painter of the Grand Condd's famous deeds, 39, 68, 90 Lecurieur Album, the famous, 235 Leczinska of Poland, Maria, mar riage with Louis XV, 93 ; at Chantilly, 95 Legenda Aurea of Jacopo da Vora gine, the property of Charles V of France, 158, 188, 193 Lenet accomplishes with Claire- Clemence the release of the Grande Condd, 49, 50, 52, 54 ; at Bordeaux, 61 ; financial difficul ties of the Grand Condd, 62, 63 Lenoir, Alexander, a faithful guar dian of French treasures during French Revolution, 112, 141 Lens, Battle of, 43 Lepic A Eylau, Le Colonel, by Dd- tailleur, 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, 131 294 INDEX Lichtenstein Gallery at Vienna^ 150, 181 Ligny, Comte, portraits by Perrdal, 202, 203 Lille made a French town, 78 Limbourg, Pol, and his brothers, miniatures by, 153, 155, 172 ; illuminated manuscripts by, 162 ; Tris Riches Heures, 152, 154, 156, 158, 160, 162, 164-179, 192, 193 ; Belles Heures, 184 Limeuil, Isabelle de, and the Grand Condd, 19 Limoges enamel, portraits in, 136 Limousin, M., painter, 215 ; enamel portiaits by, 277 Lippi, Filippo, his works at Chan tilly, 145 ; Filippino, 149 Liselotte as a Maid, by Largillidre, 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, Due de, and Grand Conde's arrest, 48 ; death, 64 Longueville, Due de (son of above), death 80 Longueville, Duchesse de (formerly Genevidve de Bourbon), por traits 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 Conde to ally himself with Spain, 58 ; at Bordeaux, 61, 62 ; retires to a convent on death of her hus band, 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 m. Lorraine, Catherine de, portrait of, 136 Lorraine, Claude, his wonderful atmospheric efiects, 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 Perrdal 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 Condd family, 32 ; and Riche lieu, 37 ; last words and death, 39 ; portraits of, 143, 245 Louis XIV and Isabelle de Mont morency, 42 ; reception of the Grand Condd, 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, 1 34 ; and the Gaig nidres 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, loi ; portrait of, 261 Louis XVI and the French Revolu tion, 104, 105, 107 ; portrait of, 261 Louis Bordeaux (son of the Grand Condd), rejoicings at his birth, 61 ; early death, 62 , INDEX 295 Louis Philippe. See Orleans, Due de Lucifer, 175 Luignes, Due de, his Mimoires, 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 Sassof errata, 133 ; the Maison d'Orldans, 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 Pro cession of Maison de Sylvie, 32 Maison, Marquis, collection of, 139 Mattre de Moulins, 199 Malatesta. See Paolo Malebranche, Nicolas, philosopher and theologian, 83 Maledictiotfi Paternelle, by Greuze, 262 Malonel, M., Court-painter to the Duke of Burgundy, 1 73 Man and Woman, A, 131 Man with a Glass of Wine, by Fou quet, 181 Mangin, Jean, Cupid and Psyche, 6 Mannheim, Capture of, 82 Mannier, Les le, by G. Moreau Ndla ton, 229 Manuscripts, French illuminated, 154 et seq., 204 Marchand, insults the Duchesse de Duras, 107 Marck, Robert dela, portrait of, 235 Margot de France. See France, Margot de Marguerite, Princesse (daughter of Due de Nemours), marriage, 121 ; portrait of, 226 Marie Amdhe, Princesse (daughter of Comte de Paris), betrothal to Duke of Braganza, 124 Marie Amdlie, Queen (wife of Louis Philippe) , portrait by Gerard, 137; her collection, 138 ; visit from her son the Due d'Aumale, 160 Marie Anne of Bavaria, portrait of, 138 Marie Antoinette (wife of Louis XVI), visits Chantilly, 97; por traits of, as Hebe, 142, 263 Marie Caroline, Queen of Naples, portrait by Mme. Vigde 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. Vigde le Brun, 263, 264 Marie Therese of Spain, Infanta, marriage to Louis XIV, 64 ; por trait of, 138 Marie Thdrdse Caroline (wife of Francis II, Emperor of Germany), portrait by Mme. Vigde Le Brun, 263 Mariensippe, a, 186, 188 Mariette, M., his bequests to the Louvre, 156 ; on Largillidre's personal vigour, 254 Marignan. See Preux de Marilhat, M., his works at Musde Condd, 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, 188 296 INDEX Mars and Venus, by Paolo Veronese, 135 Martel, M. le Comte, 145 MartignS Briant, Madame de, por trait of, 244 Martini, Simone, 173 Martyrdom of St. Stephen, The, by Carracci, 135 Mary Stuart, portraits of. Frontis piece, 229, 232, 241 ; King's in sulting words to, 242 Mary's Obsequies, by Fouquet, 193 Mary Tudor, portrait of, 242 Masaccio, Tomaso, 1 71 w. ; his work n the Brancacci Chapel in Flor ence, 192 Massacre of the Innocents, by Pous sin, 135 Maulde, M. de, and the Maitre de Moulins, 199 May Day, miniature of, 168 Mazarin, Cardinal, created Cardinal, 36 ; an implacable enemy to the Grand Condd, 40, 47—49, 53, 55, 57, 59-56 ; 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 ; recon ciliation with Grand Condd, 65 ; portraits of, 134, 142, 251 Mazzola, Giuseppe, his works in the Musde Condd, 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 Re gent, 18-20 ; her character, 22 ; her son's treachery, 26 ; portraits of, 26, 141, 151, 230 ; her Book of Hours, 215 ; and M. Humidres, 229; and Cardinal Odet deColigny, 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 Condd, 38 ; miniature of, 138 Mehun-sur- Ydvre, Castle of, 177 Meissonier, Jean L. E., his works, 138, 152 Mdjands Collection at Aix, 214 Mely, M. de, Gazette des Beaux Arts, 172 n. MemUng, painting by, 62 Mdne, M., bronzes by, 277 Mercure de France, description of entertainments at Chantilly, 90 Mesangdre, Pierre de la, his coUec tion, 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 I'Hopital, resignation of, 20 Mierevelt's, Elizabeth Stuart, 133 Mignard, Pierre, and the Grand Condd, 84 ; portraits by, 84, 133, 142 ; life of, 252, 253 Millet, Frangois, painter of the Barbizon School, 169, 275 Minerva, a famous bronze, 136, 137 Miracle of the Loaves, 1 77 Missal of St. Denis in the Victoria and Albert Museum, 160 MoUdre, J., at Chantilly, 75, 83 ; his poem Amphitryon, 75 ; por traits of, 84, 142, 253 ; statues of, 89, 276 Monatshefte fiir Kunstwissenschaft, by Louise M. Richter, 204 n. Montaigne, Michel de, portrait of, 147 ; his Journal du voyage, 196 INDEX 297 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 MonticeUi, painter of the Second Empire, 276 Montjoies, 175 Montmorency, Anne de (known as the Grand Connetable), 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 Condd), her beauty, 9 ; Henri IV's admira tion 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 Chan tilly, 50 Montmorency, Frangois de, suc ceeds Anne de Montmorency as Lord of Chantilly, and marriage, 9 Montmorency, Guillaume de, his tory 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 Condd, 42 Montmorency, Jean de, 4 Montmorency, Jean II de, mar riage, 4 Montroux, escape of Claire-Cle mence to, 51, 52, 54 Mordecai on Horseback in the Lich tenstein Gallery in Vienna, 150 Morgan, J. F. Pierpont, his collec tion, 262, 265 Moro, Antonio, his works in the Musee Condd, 84 Moroni, Giovanni, a portrait by, 132 Moulins, Maitre de, 199, 200 Mulhouse, victory at, 82 Munich Public Library, works by Fouquet at, 181, 182 Musde Carnevalet, 263 Musde Condd. See Condd Museo Nationale at Florence, 203 Mystic Marriage of St. Francis, The, Gassetta, 146 Nain, Brothers le, their paintings, 248 Nantes, Edict of, 85 Nantes, MUe. (daughter of Louis XIV), chUd marriage, 85, 86 ; portrait of, 255 Naples, Queen of. See Marie Caro line Napoleon I, his Memoirs, 105 ; Chan tilly the property of the State, 109 ; portraits by Gdrard, 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 298 INDEX Navarre, Nicholas Baron, his manu scripts, 185 Ndlaton, Moreau, 203, 239 ; his drawing in red chalk of Cardinal Odet de CoUgny, 237 ; Erasmus, 238 ; Le Portrait A la cour des Valois, 239 n. Nemours, Due de, 56 ; portraits by Fouquet, 141 ; Antiquitates JudcB orum, 183 Nemours, Duchesse de, her descrip tion of the Grand Condd, 57 Neubourg, Due 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 Em peror Paul of Russia), his visit to Chantilly, 98-100 Nordlingen, Battle of, 40 Northbrook Collection, 208 Northwick Sale, 135 Notre, Andre Le, lays out the Gar dens at Chantilly, 66, 67 ; sta tues 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 Orlians, Charles Maximilian, 239 Orldans, Due de (afterwards King Louis Philippe), death of Louis Joseph de Conde, 113 ; breeds English racehorses in France, 116; visit to Chantilly, 118; abdication, 118, 119 ; portraist of, 137, 266, 267 Orldans, Duchesse de (wife of above), portrait by Gdrard, 268 Orldans, Due de (son of above), por trait of and death, 268 Orldans, Gaston, Due de (brother of Louis XIII), and the Grand Condd, 55, 56, 57, 60 ; portraits of, 137, 143 ; owned Vierge de la Maison d'Orlians, 139 Orldans, Girard de, assists Jean de Coste to decorate the Chateau de Vaudreuil, 200 Orldans Henride. See Aumale, Due de Orldans, Louise Marie Thdrdse Ba thilde de, marriage, 97 Orme, Nicolas, translates Aristotle's Ethics, 157 Oronce Fini, portiait by Clouet of, 212, 213 Orsini, Marie FeUce, pleads in vain for her husband Henri de Mont morency'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, portiaits of, 202, 205 PaUavicini, villa at PegU, iUness of Queen Marie Amdlie, 161 Palma, Jacopo, Holy Family, 145 Panizzi, Sir Antonio, Principal Li brarian of the British Museum, 161 Paolo Malatesta and Francesca da Rimini, by Ingres, 133 Paon, Le, a hunting-scene by, 100 INDEX 299 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 Condd, 55 ; capture of Paris by the Grand Condd and retreat from, 60 ; entry of Louis XIV, 65 ; painting by Duprds, 275 Paris, Comte de. See Louis PhiUppe Paris, Comte de, abdication of his grandfather Louis PhiUppe 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 Paremont de Narbonne, 154 Penni, Luca, his works in Musde Condd, 132 Peronneau, M., his works, 261 Perrault, M., 267 Perrdal, Jean (Court-painter to Louis XII), his works, 4, 151, 189 etseq., 199-210, 218 ; a follower of Fouquet, 197 ; history of; 199, 202-210 Perugino, 135 Petit-Chateau, 6, 123 Philip II, King of Spain, and the Princesse de Conde, 14 Philip le Beau, portrait of, 208 Philippe Augustus, illustiations of events in his life in Chronique de France, 182 PhiUppe Egalitd, 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 lies, known as " Macon " of Chantilly, 8 PisaneUo, 131 Pisseleu, Jossine (niece of Duchesse d'Estampes), portraits of, 22 7, 234 Pitt, WilUam, reception in England of Louise de Condd, 1 10 Pius V, Pope, and Cardinal Odet de CoUgny, 237 Plaisir Pastoral, by Watteau, 258 Pluto and Proserpine plucking Daffodils, by Chapu, 276 Poitiers, Castle of, in Calendar ot 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 Si monetta Vespucci, 146 Pollaiuolo, Antonio, 146 Pompadour, Mme. de, and Boucher, 257 ; portraits of, 257, 263 Pompey enters the Temple in Triumph in Antiquitates Judcsorum, 189 Pont de Sivres, by S. W. Reynolds, 274 Porcelain, collection of ChantiUy, 277 Port St. Nicholas, by Duprds, 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, tianslates St. Augustine's Citi de Dieu, 157 Preux de Marignan, 151, 157, 202, 204 ; painted by Perrdal, 204, 206 Prie, Mme. de (mistress of the Due 300 INDEX de Bourbon), charms and ma chinations of, 93, 94 ; exile and death, 94 Primaticcio, Francesco, his portrait of Henri II, 133, 236 ; the fres coes at Fontainebleau, 228 Princess Palatine, Charlotte Eliza beth (devoted friend of the Grand Condd), portrait of, 245 ; Char lotte Elizabeth (second wife of Philippe d'Orldans), 254 Procession, A, by Bouts, 146 ; of the Magi, by the Limbourgs, 174, 201 n. Prophets, by Michael Angelo, 131 Protais, Avant et apris 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 Condd, 48 Quthe, Pierre, portraits by Frangois 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, Gaigniire, 185, 186; Lenoir, 214 ; Marriette, 214 ; d'Orange, 214 ; du Tillet, 215 ; d' Arras, 215 Reine de Mai, La, 168 Reiset CoUection, 130, 144-146, 156, 269 Rembrandt, Paul, Mountainous Landscape, 131 ; other works, 134 Renaissance, distinction between French and Italian, 7 ; architec ture, 187 Renaissance, La, by Laborde, 212 Rene, King, owned Livre d'Heures, 202 Rdnde de France (Duchesse de Ferrara), her marriage, 221 ; portraits of, 218, 221 Reni, Guido, his work at Musde Condd, 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, Due de, portraits of, 142, 235 Retz, Mme. de, portrait of, 235 Reynolds, Sir Joshua, portraits of Philippe EgalitS, 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 Condd, 31 ; mar ries his niece to the Grand Condd, 34-36 ; selects the Grand Condd INDEX 301 as Commander-in-Chief, 37 ; por traits of, 134, 250, 277 Richter, Louise M., Monatshefte fiir Kunstwissenschaft, 204 Riesener, M., a splendid cabinet at Chantilly by, 134 Rigaud, Hyacinthe, portrait pain ter, 134, 253 Riom, Castle of, 169 Robertet, Frangois (secretary to Due de Bourbon), on Josephus' Antiquities, 155, 183 Robinson, Sir Charles, sells Italian manuscripts to Due d'Aumale, 138 Rochefoucauld, Due de, 56 RocheUe, La, Huguenots' flight to, 21, 23 Rocroy, Battle of, 39 Rohan, Princesse Charlotte de, no Roman Campagna, A View of, by Dughet, 250 RomanCampagna,. Aqueducts of, by Claude Lorraine, 250 Romano, GiuUo, his works at Musde Condd, 132 Rome, Plan of, 152, 177 Rosa, Salvator, works by, 133 Rosso executes frescoes at Fon tainebleau, 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 Condd), marriage and imprisonment of her husband, 17 ; his release, 19 ; her death, 20 Russell, Fuller, sells the Jean de France diptych to Due d'Aumale, 148 Ruysdael, Jacob, Dunes at Scheven ingen, 139 ; other works, 147 St. Augustine's Cite 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, i^o ' 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, 15,7 St. Evremond, his praise of the Grand Condd, 87, 88 St. Francis. See Mystic Marriage of Ste. Geneviive, 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 Mimoires, gi, 246 St. Stephen's Chapel at West minster, paintings in, 201 ¦ Sacre et I'lntronisation de I'Em- pereur, by David, 269 Salerno, Prince de, his collection, 132, 133 Saliire du Pavilion, by Pol Lim bourg, 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 monu- ;o2 INDEX ment 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, Ma donna, 133 Saumur, Castle of, in Calendar of Months, 170 Sauvageot Collection, 214 Savoy, Charles of, owned The Breviary, 162 Savoy, Charles Emmanuel, educa tion of, 221 Savoy, Philibert, and Perrdal, 209 Scheffer, Ary, works by, 138, 268 ; his pupil Puvis de Chavannes, 269 ; and Rousseau, 275 Sehlestadt, 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 SenUs, Seigneurs of, also named Bouteillers, 3 Sdvignd, Mme. de, Letters of, de scribes Chantilly, 76, 83 Shepherd in the Pyrenees, A, by Rosa Bonheur, 135 Sienese School, 139 Sieur de Canaples. portraits of, 223 SignorelU frescoes, 176 Simonetta Vespucci, portrait of, 146 Sixtine Chapel, 131 Soleil Couchant, by Duprds, 275 Soltykoff Sale, 136 Sommeil de Psyche, by Prud'hon, 267 Sotheby, auctioneer, sale of Anti quitates Judcsorum, 183 Soubise, Princesse Charlotte de. marriage to sixth Prince de Condd 96; portraits of, 96, 255; charac ter and death, 97 Souvenir d'ltalie. by Corot, 275 Spada, Lionello, his work at Musde Condd, 132 Spain, war with France, 38 et seq., 78 ; Grand Condd's aUiance with, 61 ; a lost battle, 63 ; Peace of Pyrenees, 64 Spain, EUzabeth, Queen of, por trait, 142 Spain, Infanta of, 93 Spinola, General, the captor of Breda, 163 Spinola, Marchese AmbrogUo 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 SteUa, Jacques, his portrait of the Grand Condi, 251 Stratonice (Tribune), by Ingres, 269 Strozzi, Mardchal, portiaits of, 231, 235 Stuart, EUzabeth, Queen of Bo hemia, portrait of, 133 Stuart, Mary, Queen of Scots, 21 Sueur, Eustache le, his work, 252 Suleyras, M., his portiait of Pope Benedict XIV. 142 Sully, Maximilien, Due de, Minister of Finance, portiaits of, 138, 142, 246 Sunrise and Sunset, by Boucher, 257 Surprise, La. by Greuze, 262 Sutherland CoUection, the, 141-143 Table Ronde, 157 Talleyrand-Pdrigord, Charles Mau rice de, portiaits of, 138, 268 INDEX 303 Tanagra figures, four, 141 Temptation of our Lord, The, 1 76 Tendre Desir, Le, by Greuze, 262 Teniers, David, the younger, 36, 139 Terrestrial Paradise. 173 Thdrdse, Marie, Queen of Louis XIV, portrait of, 138 ThisSe dicouvrant I'ipie de son pire. 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, Due de, 24 Three Graces, The. by Raphael, 148, 149, 187 Tiburtine Sybil prophesying to Augustus, 173 Tiepolo, his works at Musde Condd, 147 Titiens, Tiziano Vecelli, the cele brated painter, Ecce Homo. 1 35 Tixier, Pdre, 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 Perreal of, 204, 205 Toussaint, La. by Fouquet, 194 Tremoille, 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 Protes tant faith, 30 Trdmoille, Due de la, occupies Chantilly, 119 Tris Belles Heures. See Book of Hours Tris Riches Heures de Due de Berry, Les. See Book of Hours Triqueti, Baron, buys the famous Pourtales vase, 136 Trivulzio, Prince, his collection, 165 Troy, De, Dijeuner d'Huitres, 134 Tudor, Mary, portrait by Perrdal, 205 Turenne (Henri de la Tour d'Au vergne), Vicomte de, Commander- in-Chief, 37 ; war between France and Spain, 38 ; Battle of Ro croy, 39 ; Battle of Nordlingen, 40 ; imprisonment of the Grand Condd, 49 ; reception of Claire- Clemence at Bordeaux, 52 ; com pels the Grand Condd to retreat from Paris, 60 ; defeats the Grand Condd in battle near Dun kirk, 63 ; Peace of the Pyrenees, 64 ; reception of the Grand Condd, 65 ; at ChantiUy, 75 ; marches into Flanders, 78 ; ad vance on Holland, 79 et seq. ; his death, 82, 83 ; bust by Der bais of, 277 Turkish Guards on their way from Smyrna to Magnesia, by Des camps, 271 Turkish Landscape, by Descamps, 271 Unknown Lady, by Clouet, 223 UnknownYoung Men, by Clouet, 223 Utterson Sale, 134 Vaga, Perin del, his works at Musde Condd, 132 Valere Maxime. French translation oi. 157 Valier, De S., portiait of, 238 Valois, Claude de, portrait of, 244 Valois, Elizabeth de, 233 Valois, Madeleine de, history and portrait of, 218 304 INDEX Yalois, 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 portiait of a Young Woman, 133 Vatel, the maitre d'hdtel at Chan tilly, commits suicide, 76 Vaudreuil, Chateau de, 200 Vauldy, M. de, the escape of Claire- Clemence, 51, 52 Vedette des Dragons sous Louis XV, La, by Meissonier, 2 72 Venus Anadyomine. 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 Musde Condd, 266 Vernet, Horace (son of above), his works at Musde Condd, 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, Mardchal de, portiaits of, 231, 246 Vierge de la Maison d'Orlians. by Raphael, 139 View near London. A, by Constable, 273 Vilatte, M., painting by, 42, 146 Vimory, Battle of, 26 Vincennes, Chateau of, 159 Virgin, by Diirer, 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 Frangois Clouet of, 239 Volterra, Daniele di, his works in Musde Condd, 132 Voragine, Jacopo da, Legenda Aurea. 188 Vouet, Simon, and the decoration of the Louvre, 249 ; Charles Le Brun his pupil, 251 Waageu; Dr. G. F., i5i Waldegrave with her daughter. Maria Lady, by Sir Joshua Reynolds, 138 Wallace Collection, compared with Musde Condd, 152 ; Louis XII and Anne de Bretagne. medal by Jean Perrdal, 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 An tiquitates Judcsorum. 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 Hol land to withstand attacks of France, 79, 81, 82 INDEX 305 Winterhalter, F. (Court-painter to Louis PhiUppe and Napoleon III), Louis Philippe. 137 ; Due d'Au male. 273 Wirty, De, the Dutch General, 80 Woman taken in Adultery. The. by Giorgione, 135 Woodburn CoUection, 149 Wurmer, the Austiian General, and Conde'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 Zanzd, Vicomtesse de, coUection of, 246 Ziem, the painter of Venice, Les Eaux Douces d'A sie. 276 Zodiac. The. in Tres Riches Heures, 172 20 PHINTED BY HA2EIX, WATSON AND VINHY, U>„ LONDON AND AY1£SBUEY. 3 9002 '