The Works of Honoré de Balzac: About Catherine de' Medici, Seraphita, and Other Stories. Honore de Balzac
and Protestants poured in as much to hear the news and study each other's faces as to pay their court to the King. His passionate affection for Mary Stuart, which neither the Queen-mother nor the Guises attempted to check, and Mary's politic submissiveness in yielding to it, deprived the King of all power; indeed, though he was now seventeen, he knew nothing of Royalty but its indulgences, and of marriage nothing but the raptures of first love. In point of fact, everybody tried to ingratiate himself with Queen Mary and her uncles, the Cardinal de Lorraine and the Grand Master of the Household.
All this bustle went on under the eyes of Christophe, who watched each fresh arrival with very natural excitement. A magnificent curtain, on each side of it a page and a yeoman of the Scotch Guard then on duty, showed him the entrance to that royal chamber, destined to be fatal to the son of the Grand Master, for the younger Balafré fell dead at the foot of the bed now occupied by Mary Stuart and Francis II. The Queen's ladies occupied the chimney-place opposite to that where Christophe was still chatting with the captain of the Guard. This fireplace, by its position, was the seat of honor, for it is built into the thick wall of the council-room, between the door into the royal chamber and that into the council-room, so that the ladies and gentlemen who had a right to sit there were close to where the King and the Queens must pass. The courtiers were certain to see Catherine; for her maids of honor, in mourning, like the rest of the Court, came up from her rooms conducted by the Countess Fieschi, and took their place on the side next the council-room, facing those of the young Queen, who, led by the Duchesse de Guise, took the opposite angle next the royal bedchamber.
Between the courtiers and the young ladies, all belonging to the first families in the kingdom, a space was kept of some few paces, which none but the greatest nobles were permitted to cross. The Countess Fieschi and the Duchesse de Guise were allowed by right of office to be seated in the midst of their noble charges, who all remained standing.
One of the first to mingle with these dangerous bevies was the Duc de Orléans, the King's brother, who came down from his rooms above, attended by his tutor, Monsieur de Cypierre. This young Prince, who was destined to reign before the end of the year, under the name of Charles IX., at the age of ten was excessively shy. The Duc d'Anjou and the Duc d'Alençon, his two brothers, and the infant Princess Marguerite, who became the wife of Henri IV., were still too young to appear at Court, and remained in their mother's apartments. The Duc d'Orléans, richly dressed in the fashion of the time, in silk trunk hose, a doublet of cloth of gold, brocaded with flowers in black, and a short cloak of embroidered velvet, all black, for he was still in mourning for the late King his father, bowed to the two elder ladies, and joined the group of his mother's maids of honor. Strongly disliking the Guisards (the adherents of the Guises), he replied coldly to the Duchess' greeting, and went to lean his elbow on the back of the Countess Fieschi's tall chair.
His tutor, Monsieur de Cypierre, one of the finest characters of that age, stood behind him as a shield. Amyot, in a simple abbé's gown, also attended the Prince; he was his instructor as well as being the teacher of the three other royal children, whose favor was afterwards so advantageous to him.
Between this chimney-place "of honor" and that at the further end of the hall—where the Guards stood in groups with their captain, a few courtiers, and Christophe carrying his box—the Chancellor Olivier, l'Hôpital's patron and predecessor, in the costume worn ever since by the Chancellors of France, was walking to and fro with Cardinal de Tournon, who had just arrived from Rome, and with whom he exchanged a few phrases in murmurs. On them was centered the general attention of the gentlemen packed against the wall dividing the hall from the King's bedroom, standing like a living tapestry against the rich figured hangings. In spite of the serious state of affairs, the Court presented the same appearance as every Court must, in every country, at every time, and in the midst of the greatest perils. Courtiers always talk of the most trivial subjects while thinking of the gravest, jesting while watching every physiognomy, and considering questions of love and marriage with heiresses in the midst of the most sanguinary catastrophes.
"What did you think of yesterday's fête?" asked Bourdeilles, the Lord of Brantôme, going up to Mademoiselle de Piennes, one of the elder Queen's maids of honor.
"Monsieur du Baïf and Monsieur du Bellay had had the most charming ideas," said she, pointing to the two gentlemen who had arranged everything, and who were standing close at hand. "I thought it in atrocious taste," she added in a whisper.
"You had no part in it?" said Miss Lewiston from the other side.
"What are you reading, madame?" said Amyot to Madame Fieschi.
"Amadis de Gaule, by the Seigneur des Essarts, purveyor-in-ordinary to the King's Artillery."
"A delightful work," said the handsome girl, who became famous as la Fosseuse, when she was lady-in-waiting to Queen Margaret of Navarre.
"The style is quite new," remarked Amyot. "Shall you adopt such barbarisms?" he asked, turning to Brantôme.
"The ladies like it! What is to be said?" cried Brantôme, going forward to bow to Madame de Guise, who had in her hand Boccaccio's Famous Ladies. "There must be some ladies of your House there, madame," said he. "But Master Boccaccio's mistake was that he did not live in these days; he would have found ample matter to enlarge his volumes."
"How clever Monsieur de Brantôme is!" said the beautiful Mademoiselle de Limeuil to the Countess Fieschi. "He came first to us, but he will stay with the Guises."
"Hush!" said Madame Fieschi, looking at the fair Limeuil. "Attend to what concerns you——"
The young lady turned to the door. She was expecting Sardini, an Italian nobleman, whom, subsequently, she made marry her after a little accident that overtook her in the Queen's dressing-room, and which procured her the honor of having a queen for her midwife.
"By Saint Alipantin, Mademoiselle Davila seems to grow prettier every morning," said Monsieur de Robertet, Secretary of State, as he bowed to the Queen-mother's ladies.
The advent of the Secretary of State, though he was exactly as important as a Cabinet Minister in these days, made no sensation whatever.
"If you think that, monsieur, do lend me the epigram against Messieurs de Guise; I know you have it," said Mademoiselle Davila to Robertet.
"I have it no longer," replied the Secretary, going across to speak to Madame de Guise.
"I have it," said the Comte de Grammont to Mademoiselle Davila; "but I will lend it you on only one condition."
"On condition——? For shame!" said Madame Fieschi.
"You do not know what I want," replied Grammont.
"Oh, that is easy to guess," said la Limeuil.
The Italian custom of calling ladies, as French peasants call their wives, la Such-an-one, was at that time the fashion at the Court of France.
"You are mistaken," the Count replied eagerly; "what I ask is, that a letter should be delivered to Mademoiselle de Matha, one of the maids on the other side—a letter from my cousin de Jarnac."
"Do not compromise my maids; I will give it her myself," said the Countess Fieschi. "Have you heard any news of what is going on in Flanders?" she asked Cardinal de Tournon. "Monsieur d'Egmont is at some new pranks, it would seem."
"He and the Prince of Orange," said Cypierre, with a highly expressive shrug.
"The Duke of Alva and Cardinal de Granvelle are going there, are they not, monsieur?" asked Amyot of Cardinal de Tournon, who stood, uneasy and gloomy, between the two groups after his conversation with the Chancellor.
"We, happily, are quiet, and have to defy heresy only on the stage," said the young Duke, alluding to the part he had played the day before, that of a Knight subduing a Hydra with the word "Reformation" on its brow.
Catherine de' Medici, agreeing on this point with her daughter-in-law, had allowed a theatre to be constructed in the great hall, which was subsequently used for the meetings of the States at Blois, the hall between the buildings of Louis XII. and those of Francis I.
The Cardinal made