Memoirs of the Court of Marie Antoinette, Queen of France, Complete. Jeanne Louise Henriette Campan
Antoinette, as has been justly and generally observed. The latter unfortunate Queen, perhaps, carried her disregard of everything belonging to the strict forms of etiquette too far. One day, when the Marechale de Mouchy was teasing her with questions relative to the extent to which she would allow the ladies the option of taking off or wearing their cloaks, and of pinning up the lappets of their caps, or letting them hang down, the Queen replied to her, in my presence: ‘Arrange all those matters, madame, just as you please; but do not imagine that a queen, born Archduchess of Austria, can attach that importance to them which might be felt by a Polish princess who had become Queen of France.’
“The virtues and information of the great are always evinced by their conduct; their accomplishments, coming within the scope of flattery, are difficult to be ascertained by any authentic proofs, and those who have lived near them may be excused for some degree of scepticism with regard to their attainments of this kind. If they draw or paint, there is always an able artist present, who, if he does not absolutely guide the pencil with his own hand, directs it by his advice. If a princess attempt a piece of embroidery in colours, of that description which ranks amongst the productions of the arts, a skilful embroideress is employed to undo and repair whatever has been spoilt. If the princess be a musician, there are no ears that will discover when she is out of tune; at least there is no tongue that will tell her so. This imperfection in the accomplishments of the great is but a slight misfortune. It is sufficiently meritorious in them to engage in such pursuits, even with indifferent success, because this taste and the protection it extends produce abundance of talent on every side. Maria Leczinska delighted in the art of painting, and imagined she herself could draw and paint. She had a drawing-master, who passed all his time in her cabinet. She undertook to paint four large Chinese pictures, with which she wished to ornament her private drawing-room, which was richly furnished with rare porcelain and the finest marbles. This painter was entrusted with the landscape and background of the pictures; he drew the figures with a pencil; the faces and arms were also left by the Queen to his execution; she reserved to herself nothing but the draperies, and the least important accessories. The Queen every morning filled up the outline marked out for her, with a little red, blue, or green colour, which the master prepared on the palette, and even filled her brush with, constantly repeating, ‘Higher up, Madame—lower down, Madame—a little to the right—more to the left.’ After an hour’s work, the time for hearing mass, or some other family or pious duty, would interrupt her Majesty; and the painter, putting the shadows into the draperies she had painted, softening off the colour where she had laid too much, etc., finished the small figures. When the work was completed the private drawing-room was decorated with her Majesty’s work; and the firm persuasion of this good Queen that she had painted it herself was so entire that she left this cabinet, with all its furniture and paintings, to the Comtesse de Noailles, her lady of honour. She added to the bequest: ‘The pictures in my cabinet being my own work, I hope the Comtesse de Noailles will preserve them for my sake.’ Madame de Noailles, afterwards Marechale de Mouchy, had a new pavilion constructed in her hotel in the Faubourg St. Germain, in order to form a suitable receptacle for the Queen’s legacy; and had the following inscription placed over the door, in letters of gold: ‘The innocent falsehood of a good princess.’
“Maria Leczinska could never look with cordiality on the Princess of Saxony, who married the Dauphin; but the attentive behaviour of the Dauphiness at length made her Majesty forget that the Princess was the daughter of a king who wore her father’s crown. Nevertheless, although the Queen now saw in the Princess of Saxony only a wife beloved by her son, she never could forget that Augustus wore the crown of Stanislaus. One day an officer of her chamber having undertaken to ask a private audience of her for the Saxon minister, and the Queen being unwilling to grant it, he ventured to add that he should not have presumed to ask this favour of the Queen had not the minister been the ambassador of a member of the family. ‘Say of an enemy of the family,’ replied the Queen, angrily; ‘and let him come in.’
“Comte de Tesse, father of the last Count of that name, who left no children, was first equerry to Queen Maria Leczinska. She esteemed his virtues, but often diverted herself at the expense of his simplicity. One day, when the conversation turned on the noble military, actions by which the French nobility was distinguished, the Queen said to the Count: ‘And your family, M. de Tesse, has been famous, too, in the field.’—‘Ah, Madame, we have all been killed in our masters’ service!’—‘How rejoiced I am,’ replied the Queen, ‘that you have revived to tell me of it.’ The son of this worthy M. de Tesse was married to the amiable and highly gifted daughter of the Duc d’Ayen, afterwards Marechale de Noailles. He was exceedingly fond of his daughter-in-law, and never could speak of her without emotion. The Queen, to please him, often talked to him about the young Countess, and one day asked him which of her good qualities seemed to him most conspicuous. ‘Her gentleness, Madame, her gentleness,’ said he, with tears in his eyes; ‘she is so mild, so soft,—as soft as a good carriage.’—‘Well,’ said her Majesty, ‘that’s an excellent comparison for a first equerry.’
“In 1730 Queen Maria Leczinska, going to mass, met old Marechal Villars, leaning on a wooden crutch not worth fifteen pence. She rallied him about it, and the Marshal told her that he had used it ever since he had received a wound which obliged him to add this article to the equipments of the army. Her Majesty, smiling, said she thought this crutch so unworthy of him that she hoped to induce him to give it up. On returning home she despatched M. Campan to Paris with orders to purchase at the celebrated Germain’s the handsomest cane, with a gold enamelled crutch, that he could find, and carry it without delay to Marechal Villars’s hotel, and present it to him from her. He was announced accordingly, and fulfilled his commission. The Marshal, in attending him to the door, requested him to express his gratitude to the Queen, and said that he had nothing fit to offer to an officer who had the honour to belong to her Majesty; but he begged him to accept of his old stick, saying that his grandchildren would probably some day be glad to possess the cane with which he had commanded at Marchiennes and Denain. The known frugality of Marechal Villars appears in this anecdote; but he was not mistaken with respect to the estimation in which his stick would be held. It was thenceforth kept with veneration by M. Campan’s family. On the 10th of August, 1792, a house which I occupied on the Carrousel, at the entrance of the Court of the Tuileries, was pillaged and nearly burnt down. The cane of Marechal Villars was thrown into the Carrousel as of no value, and picked up by my servant. Had its old master been living at that period we should not have witnessed such a deplorable day.
“Before the Revolution there were customs and words in use at Versailles with which few people were acquainted. The King’s dinner was called ‘The King’s meat.’ Two of the Body Guard accompanied the attendants who carried the dinner; every one rose as they passed through the halls, saying, ‘There is the King’s meat.’ All precautionary duties were distinguished by the words ‘in case.’ One of the guards might be heard to say, ‘I am in case in the forest of St. Germain.’ In the evening they always brought the Queen a large bowl of broth, a cold roast fowl, one bottle of wine, one of orgeat, one of lemonade, and some other articles, which were called the ‘in case’ for the night. An old medical gentleman, who had been physician in ordinary to Louis XIV., and was still living at the time of the marriage of Louis XV., told M. Campan’s father an anecdote which seems too remarkable to have remained unknown; nevertheless he was a man of honour, incapable of inventing this story. His name was Lafosse. He said that Louis XIV. was informed that the officers of his table evinced, in the most disdainful and offensive manner, the mortification they felt at being obliged to eat at the table of the comptroller of the kitchen along with Moliere, valet de chambre to his Majesty, because Moliere had performed on the stage; and that this celebrated author consequently declined appearing at that table. Louis XIV., determined to put an end to insults which ought never to have been offered to one of the greatest geniuses of the age, said to him one morning at the hour of his private levee, ‘They say you live very poorly here, Moliere; and that the officers of my chamber do not find you good enough to eat with them. Perhaps you are hungry; for my part I awoke with a very good appetite this morning: sit down at this table. Serve up my ‘in case’ for the night there.’ The King, then cutting up his fowl, and ordering Moliere to sit down, helped him to a wing, at the same time taking one for himself, and ordered the persons entitled to familiar entrance, that is to say the most distinguished and favourite people at Court,