LITMIR.BIZ

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of which perhaps the sole fault was that the principal feature was too prominent—a peculiarity which caused the monarch to be popularly surnamed François le grand nez. The king's eyes were dark and full of fire, and his clear skin was set off by a pointed beard. His brown locks were cut short, in consequence of a severe wound he had received on the head, and as a matter of course the fashion had been followed by his courtiers. His teeth were magnificent, and were constantly displayed, his countenance being rarely without a smile. His expression was jovial and good humoured, though somewhat proud and sarcastic; his deportment full of majesty, but he was so affable that he set all who approached him at ease. Familiarity, however, was never attempted with François, even by his greatest favourites. In a word, he fully merited the appellation to which he aspired, and which was universally bestowed upon him, of the First Gentleman in Europe.

      François I. was not remarkable merely for his personal accomplishments and graces. His mental qualifications were of a very high order. If not erudite or profound, he was well read. He was fond of poetry, and was himself a poet. He delighted in romances of chivalry, “Lancelot du Lac,” “Garin le Lorrain,” and took for his model the peerless “Amadis de Gaule.” In consequence of his predilection for them, the favourite books with the gallants and dames of his court were “Gérard de Nevers,” “Pierre de Provence et la Belle Magueloune,” and “Petit Jehan de Saintré.” Not merely was François I. a lover of literature, and a patron of poets and men of learning, but he warmly encouraged the arts, and his court was frequented by the best painters, sculptors, and architects, whom he brought from Italy.

      Endowed with some of the highest and noblest qualities, by nature frank, loyal, and chivalrous, though fiery and impetuous, passionately fond of war, and always thirsting for military renown, François was a perfect type of the nation over which he ruled, and next to Henri IV., who to a certain extent based himself upon him, is the best loved of the French monarchs. His splendid person and noble features, his kingly deportment, his accomplishments, his martial tastes, his courage, his address in the tilt-yard and in the management of arms of all kinds, pike, rapier, two-handed sword, his unequalled skill and grace in horsemanship, his jovial humour, his bonhomie, his devotion to the fair sex, are dwelt upon with satisfaction, and his faults overlooked or forgotten. The following poetical portrait of him is far too brightly coloured:

      C'est luy qui a grâce et parler de maître,

      Digne d'avoir sur tous droit et puissance,

      Qui sans nommer, se peut assez connoître.

      C'est luy qui a de tout la comioissance.

      De sa beauté il est blanc et vermeil,

      Les cheveux bruns, de grande et belle taille;

      En terre il est comme au ciel le soleil.

      Hardi, vaillant, sage et preux en bataille,

      Il est bénin, doux, humble en sa grandeur,

      Fort et puissant, et plein de patience.

      The faults of François I. were profligacy and prodigality More than once he exhausted his treasury by the immense sums he lavished upon his mistresses and his favourites. So completely did he yield to his love of pleasure, that the greater part of his life which was not occupied in the field was spent in sybaritic enjoyments. Though not tyrannical, he was capricious and vindictive, and not unfrequently strained the royal prerogative to the utmost.

      On this occasion the splendid person of the king was displayed to the utmost advantage by his magnificent attire. His habiliments were of white and blue—the colours of the Comtesse de Châteaubriand. His doublet, of azure velvet slashed and puffed with white silk, glittered with diamonds, and his girdle was ornamented with rubies and emeralds. Over his doublet he wore a white brocade mantle, trimmed with minever, and so fashioned as to display the puffed sleeves of his jerkin. The handle and sheath of his poniard were studded with gems, as was also the guard of his long rapier. His sky-blue velvet toque was encircled by a white plume, and ornamented by diamonds. The perfect symmetry of his lower limbs was displayed by his white silk hose, and below the knee he wore the Garter, with which he had been invested by Henry VIII. prior to their meeting at the Field of the Cloth of Gold. His buskins, of blue velvet slashed with white satin, like his doublet, were ornamented with pearls. He was vain of his small feet and finely-formed hands, and his fingers were loaded with magnificent rings. Around his neck he wore the collar of the order of Saint Michael.

      The court of François I., as we have intimated, was not only attended by the first nobles, but by the most beautiful women of the kingdom, and, though distinguished more than any other of the period for splendour, refinement, and chivalry, was not remarkable for strictness and decorum, though the fair fame of his neglected consort, Queen Claude, was never impeached. But this devout and discreet princess was queen only in name. The hands that really held the reins of government were those of the Duchess d'Angoulême, while the king's affections were estranged by his mistresses.

      The Comtesse de Châteaubriand, who at this time held absolute sway over the fickle heart of the amorous monarch, was in sooth a most lovely and fascinating creature. Françoise de Foix, daughter of Jean de Foix, Vicomte de Lautrec, and first cousin of the heroic Gaston de Foix, surnamed “le Foudre d'Italie” was early united to the Comte Laval de Chateaubriand, whose jealousy of her beauty induced him to immure her in a solitary chateau in Brittany. His precautions, however, were unavailing. François having heard of the incomparable charms of the countess, compelled her jealous spouse to bring her to court, and at once became passionately enamoured of her. The nature of Françoise de Foix was unambitious, and she might not have exercised the influence she possessed over the king beneficially but for her brothers, the elder of whom, Odet de Foix, Seigneur de Lautrec—a brave but not a successful leader—she made a marshal of France; while the Comte de Lesparre, the younger, also owed his advancement to her.

      Françoise de Foix was tall, slender, and exquisitely proportioned. Her features were of extreme delicacy, her eyes large and of a tender blue, her eyebrows beautifully pencilled, her locks blonde, and her complexion ravishingly fair. Her attire was of white brocade, her long stomacher being covered with gems, while the girdle that encircled her narrow waist was studded with precious stones. Over her gown she wore a surcoat of azure satin embroidered with gold, and having loose hanging sleeves. A magnificent head-dress of goldsmith's work confined her blonde tresses, and set off her lovely countenance. Françoise de Foix was as fascinating in manner as she was charming in person, and her royal lover seemed spellbound by her attractions. She was not, however, more faithful to him than she had been to her husband, but she had the art to conceal her infidelities, and never incurred his suspicions. Unable to brook his dishonour, the Comte de Châteaubriand had withdrawn wholly from court, and secluded himself in his lonely château in Brittany, where he meditated a terrible revenge, which he afterwards consummated. The end of the lovely countess was very tragical.

      From the contemplation of the bewitching Françoise de Foix we must turn to another lovely woman, who formed part of the assemblage in the gallery. This was the king's sister, Marguerite de Valois, Duchess d'Alençon—La Marguerite des Marguerites, as she was styled by her royal brother, who tenderly loved her. Graceful of person, beautiful of feature, amiable in disposition, a model of virtue in a depraved court, united to a husband she could not respect, and who was incapable of appreciating her merits, yet to whom she was faithful, highly accomplished, learned, and witty, the Duchess d'Alençon was the chief ornament of the court of François I.

      About two years subsequent to the period of our history Marguerite was liberated from her husband by death, and espoused in her second nuptials Henri d'Albret, King of Navarre—a consort in all respects better suited to her. As Queen of Navarre, her court was thronged by poets, savants, and men of letters. Clement Marot thus eulogises her:

      Entre autres dons de grâces immortelles,

      Madame écrit si haut et doucement,

      Que je m'étonne, en voyant choses telles,

      Qu'on n'en reçoit plus d'ebanissement.

      Puis quand je l'ouis parler si sagement,

      Et

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