Chapter VI: Part 6

Behold, then, Philip and his wife, well pleased, going the rounds of shops and stores in fitting up their new dwelling, and let us follow step by step. To begin with the wall-paper. Imagine a front and back parlor, with folding-doors, with two south windows on the front, and two looking on a back court, after the general manner of city houses. We will suppose they require about thirty rolls of wall-paper. Philip buys the heaviest French velvet, with gildings and traceries, at four dollars a roll. This, by the time it has been put on, with gold mouldings, according to the most established taste of the best paper-hangers, will bring the wall-paper of the two rooms to a figure something like two hundred dollars. Now they proceed to the carpet-stores, and there are thrown at their feet by obsequious clerks velvets and Axminsters, with flowery convolutions and medallion-centres, as if the flower-gardens of the tropics were whirling in waltzes, with graceful lines of arabesque,--roses, callas, lilies, knotted, wreathed, twined, with blue and crimson and golden ribbons, dazzling marvels of color and tracery. There, is no restraint in price,--four or six dollars a yard, it is all the same to them,--and soon a magic flower-garden blooms on the floors, at a cost of five hundred dollars. A pair of elegant rugs, at fifty dollars apiece, complete the inventory, and bring our rooms to the mark of eight hundred dollars for papering and carpeting alone. Now come the great mantel-mirrors for four hundred more, and our rooms progress. Then comes the upholsterer, and measures our four windows, that he may skilfully barricade them from air and sunshine. The fortifications against heaven, thus prepared, cost, in the shape of damask, cord, tassels, shades, laces, and cornices, about two hundred dollars per window. To be sure, they make the rooms close and sombre as the grave; but they are of the most splendid stuffs; and if the sun would only reflect, he would see, himself, how foolish it was for him to try to force himself into a window guarded by his betters. If there is anything cheap and plebeian, it is sunshine and fresh air! Behold us, then, with our two rooms papered, carpeted, and curtained for two thousand dollars; and now are to be put in them sofas, lounges, étageres, centre-tables, screens, chairs of every pattern and device, for which it is but moderate to allow a thousand more. We have now two parlors furnished at an outlay of three thousand dollars, without a single picture, a single article of statuary, a single object of Art of any kind, and without any light to see them by, if they were there. We must say for our Boston upholsterers and furniture-makers that such good taste generally reigns in their establishments that rooms furnished at hap-hazard from them cannot fail of a certain air of good taste, so far as the individual things are concerned. But the different articles we have supposed, having been ordered without reference to one another or the rooms, have, when brought together, no unity of effect, and the general result is scattering and confused. If asked how Philip's parlors look, your reply is,--"Oh, the usual way of such parlors,--everything that such people usually get,--medallion-carpets, carved furniture, great mirrors, bronze mantel-ornaments, and so on." The only impression a stranger receives, while waiting in the dim twilight of these rooms, is that their owner is rich, and able to get good, handsome things, such as all other rich people get.

Now our friend John, as often happens in America, is moving in the same social circle with Philip, visiting the same people,--his house is the twin of the one Philip has been furnishing, and how shall he, with a few hundred dollars, make his rooms even presentable beside those which Philip has fitted up elegantly and three thousand?

Now for the economy of beauty. Our friend must make his prayer to the Graces,--for, if they cannot save him, nobody can. One thing John has to begin with, that rare gift to man, a wife with the magic cestus of Venus,--not around her waist, but, if such a thing could be, in her finger-ends. All that she touches falls at once into harmony and proportion. Her eye for color and form is intuitive: let her arrange a garret, with nothing but boxes, barrels, and cast-off furniture in it, and ten to one she makes it seem the most attractive place in the house. It is a veritable "gift of good faërie," this tact of beautifying and arranging, that some women have,--and, on the present occasion, it has a real material value, that can be estimated in dollars and cents. Come with us and you can see the pair taking their survey of the yet unfurnished parlors, as busy and happy as a couple of blue-birds picking up the first sticks and straws for their nest.

"There are two sunny windows to begin with," says the good fairy, with an appreciative glance. "That insures flowers all winter."

"Yes," says John; "I never would look at a house without a good sunny exposure. Sunshine is the best ornament of a house, and worth an extra thousand a year.

"Now for our wall-paper," says she. "Have you looked at wall-papers, John?"

"Yes; we shall get very pretty ones for thirty-seven cents a roll; all you want of a paper, you know, is to make a ground-tint to throw out your pictures and other matters, and to reflect a pleasant tone of light."

"Well, John, you know Uncle James says that a stone-color is the best,--but I can't bear those cold blue grays."

"Nor I," says John. "If we must have gray, let it at least be a gray suffused with gold or rose-color, such as you see at evening in the clouds."

"So I think," responds she; "but better, I should like a paper with a tone of buff,--something that produces warm yellowish reflections, and will almost make you think the sun is shining in cold gray weather; and then there is nothing that lights up so cheerfully in the evening. In short, John, I think the color of a _zafferano_ rose will be just about the shade we want."

"Well, I can find that, in good American paper, as I said before, at from thirty-seven to forty cents a roll. Then, our bordering: there's an important question, for that must determine the carpet, the chairs, and everything else. Now what shall be the ground-tint of our rooms?"

"There are only two to choose between," says the lady,--"green and maroon: which is the best for the picture?"

"I think," says John, looking above the mantel-piece, as if he saw a picture there,--"I think a border of maroon velvet, with maroon furniture, is the best for the picture."

"I think so too," said she; "and then we will have that lovely maroon and crimson carpet that I saw at Lowe's;--it is an ingrain, to be sure, but has a Brussels pattern, a mossy, mixed figure, of different shades of crimson; it has a good warm, strong color, and when I come to cover the lounges and our two old arm-chairs with a pretty maroon _rep_, it will make such a pretty effect."

"Yes," said John; "and then, you know, our picture is so bright, it will light up the whole. Everything depends on the picture."

Now as to "the picture," it has a story must be told. John, having been all his life a worshipper and adorer of beauty and beautiful things, had never passed to or from his business without stopping at the print-shop windows, and seeing a little of what was there.

On one of these occasions he was smitten to the heart with the beauty of an autumn landscape, where the red maples and sumachs, the purple and crimson oaks, all stood swathed and harmonized together in the hazy Indian-summer atmosphere. There was a great yellow chestnut-tree, on a distant hill, which stood out so naturally that John instinctively felt his fingers tingling for a basket, and his heels alive with a desire to bound over on to the rustling hill-side and pick up the glossy brown nuts. Everything was there of autumn, even to the golden-rod and purple asters and scarlet creepers in the foreground.

John went in and inquired. It was by an unknown French artist, without name or patrons, who had just come to our shores to study our scenery, and this was the first picture he had exposed for sale. John had just been paid a quarter's salary; he bethought him of board-bill and washerwoman, sighed, and faintly offered fifty dollars.

To his surprise he was taken up at once, and the picture became his. John thought himself dreaming. He examined his treasure over and over, and felt sure that it was the work of no amateur beginner, but of a trained hand and a true artist-soul. So he found his way to the studio of the stranger, and apologized for having got such a gem for so much less than its worth. "It was all I _could_ give, though," he said; "and one who paid four times as much could not value it more." And so John took one and another of his friends, with longer purses than his own, to the studio of the modest stranger; and now his pieces command their full worth in the market, and he works with orders far ahead of his ability to execute, giving to the canvas the traits of American scenery as appreciated and felt by the subtile delicacy of the French mind,--our rural summer views, our autumn glories, and the dreamy, misty delicacy of our snowy winter landscapes. Whoso would know the truth of the same, let him inquire for the modest studio of Morvillier, at Malden, scarce a bow-shot from our Boston.

This picture had always been the ruling star of John's house, his main dependence for brightening up his bachelor-apartments; and when he came to the task of furbishing those same rooms for a fair occupant, the picture was still his mine of gold. For a picture, painted by a real artist, who studies Nature minutely and conscientiously, has something of the charm of the good Mother herself,--something of her faculty of putting on different aspects under different lights. John and his wife had studied their picture at all hours of the day: they had seen how it looked when the morning sun came aslant the scarlet maples and made a golden shimmer over the blue mountains, how it looked toned down in the cool shadows of afternoon, and how it warmed up in the sunset, and died off mysteriously into the twilight; and now, when larger parlors were to be furnished, the picture was still the tower of strength, the rallying-point of their hopes.

"Do you know, John," said the wife, hesitating, "I am really in doubt whether we shall not have to get at least a few new chairs and a sofa for our parlors? They are putting in such splendid things at the other door that I am positively ashamed of ours; the fact is, they look almost disreputable,--like a heap of rubbish."

"Well," said John, laughing, "I don't suppose all together sent to an auction-room would bring us fifty dollars, and yet, such as they are, they answer the place of better things for us; and the fact is, Mary, the hard impassable barrier in the case is, that there really _is no money to get any more_."

"Ah, well, then, if there isn't, we must see what we can do with these, and summon all the good fairies to our aid," said Mary. "There's your little cabinet-maker, John, will look over the things, and furbish them up; there's that broken arm of the chair must be mended, and everything revarnished; then I have found such a lovely _rep_, of just the richest shade of maroon, inclining to crimson, and when we come to cover the lounges and arm-chairs and sofas and ottomans all alike, you know they will be quite another thing."

"Trust you for that, Mary! By-the-by, I've found a nice little woman, who has worked on upholstery, who will come in by the day, and be the hands that shall execute the decrees of your taste."

"Yes, I am sure we shall get on capitally. Do you know that I'm almost glad we can't get new things? it's a sort of enterprise to see what we can do with old ones."

"Now, you see, Mary," said John, seating himself on a lime-cask which the plasterers had left, and taking out his memorandum-book, "you see, I've calculated this thing all over; I've found a way by which I can make our rooms beautiful and attractive without a cent expended on new furniture."

"Well, let's hear."

"Well, my way is short and simple. We must put things into our rooms that people will look at, so that they will forget to look at the furniture, and never once trouble their heads about it. People never look at furniture so long as there is anything else to look at; just as Napoleon, when away on one of his expeditions, being told that the French populace were getting disaffected, wrote back, 'Gild the _dome des Invalides_' and so they gilded it, and the people, looking at that, forgot everything else."

"But I'm not clear yet," said Mary, "what is coming of this rhetoric."

"Well, then, Mary, I'll tell you. A suit of new carved black-walnut furniture, severe in taste and perfect in style, such as I should choose at David and Saul's, could not be got under three hundred dollars, and I haven't the three hundred to give. What, then, shall we do? We must fall back on our resources; we must look over our treasures. We have our proof cast of the great glorious head of the Venus di Milo; we have those six beautiful photographs of Rome, that Brown brought to us; we have the great German lithograph of the San Sisto Mother and Child, and we have the two angel-heads, from the same; we have that lovely golden twilight sketch of Heade's; we have some sea-photographs of Bradford's; we have an original pen-and-ink sketch by Billings; and then, as before, we have 'our picture.' What has been the use of our watching at the gates and waiting at the doors of Beauty all our lives, if she hasn't thrown us out a crust now and then, so that we might have it for time of need? Now, you see, Mary, we must make the toilet of our rooms just as a pretty woman makes hers when money runs low, and she sorts and freshens her ribbons, and matches them to her hair and eyes, and, with a bow here, and a bit of fringe there, and a button somewhere else, dazzles us into thinking that she has an infinity of beautiful attire. Our rooms are new and pretty of themselves, to begin with; the tint of the paper, and the rich coloring of the border, corresponding with the furniture and carpets, will make them seem prettier. And now for arrangement. Take this front-room. I propose to fill those two recesses each side of the fireplace with my books, in their plain pine cases, just breast-high from the floor: they are stained a good dark color, and nobody need stick a pin in them to find out that they are not rosewood. The top of these shelves on either side to be covered with the same stuff as the furniture, finished with a crimson fringe. On top of the shelves on one side of the fireplace I shall set our noble Venus di Milo, and I shall buy at Cicci's the lovely Clytie and put it the other side. Then I shall get of Williams and Everett two of their chromo-lithographs, which give you all the style and charm of the best English water-color school. I will have the lovely Bay of Amalfi over my Venus, because she came from those suns and skies of Southern Italy, and I will hang Lake Como over my Clytie. Then, in the middle, over the fireplace, shall be 'our picture.' Over each door shall hang one of the lithographed angel-heads of the San Sisto, to watch our going-out and coming-in; and the glorious Mother and Child shall hang opposite the Venus di Milo, to show how Greek and Christian unite in giving the noblest type to womanhood. And then, when we have all our sketches and lithographs framed and hung here and there, and your flowers blooming as they always do, and your ivies wandering and rambling as they used to, and hanging in the most graceful ways and places, and all those little shells and ferns and vases, which you are always conjuring with, tastefully arranged, I'll venture to say that our rooms will be not only pleasant, but beautiful, and that people will oftener say, 'How beautiful!' when they enter, than if we spent three times the money on new furniture."

In the course of a year after this conversation, one and another of my acquaintances were often heard speaking of John Merton's house. "Such beautiful rooms,--so charmingly furnished,--you must go and see them. What does make them so much pleasanter than those rooms in the other house, which have everything in them that money can buy?" So said the folk,--for nine people out of ten only feel the effect of a room, and never analyze the causes from which it flows: they know that certain rooms seem dull and heavy and confused, but they don't know why; that certain others seem cheerful, airy, and beautiful, but they know not why. The first exclamation, on entering John's parlors, was so often, "How beautiful!" that it became rather a by-word in the family. Estimated by their mere money-value, the articles in the rooms were of very trifling worth; but as they stood arranged and combined, they had all the effect of a lovely picture. Although the statuary was only plaster, and the photographs and lithographs such as were all within the compass of limited means, yet every one of them was a good thing of its own kind, or a good reminder of some of the greatest works of Art. A good plaster cast is a daguerrotype, so to speak, of a great statue, though it may be bought for five or six dollars, while its original is not to be had for any nameable sum. A chromo-lithograph of the best sort gives all the style and manner and effect of Turner or Stanfield, or any of the best of modern artists, though you buy it for five or ten dollars, and though the original would command a thousand guineas. The lithographs from Raphael's immortal picture give you the results of a whole age of artistic culture, in a form within the compass of very humble means. There is now selling for five dollars at Williams and Everett's a photograph of Cheney's crayon drawing of the San Sisto Madonna and Child, which has the very spirit of the glorious original. Such a picture, hung against the wall of a child's room, would train its eye from infancy; and yet how many will freely spend five dollars in embroidery on its dress, that say they cannot afford works of Art!

There was one advantage which John and his wife found in the way in which they furnished their house, that I have hinted at before: it gave freedom to their children. Though their rooms were beautiful, it was not with the tantalizing beauty of expensive and frail knick-knacks. Pictures hung against the wall, and statuary safely lodged on brackets, speak constantly to the childish eye, but are out of reach of childish fingers, and are not upset by childish romps. They are not like china and crystal, liable to be used and abused by servants; they do not wear out; they are not spoiled by dust, nor consumed by moths. The beauty once there is always there; though the mother be ill and in her chamber, she has no fears that she shall find it all wrecked and shattered. And this style of beauty, inexpensive as it is, compared with luxurious furniture, is a means of cultivation. No child is ever stimulated to draw or to read by an Axminster carpet or a carved centre-table; but a room surrounded with photographs and pictures and fine casts suggests a thousand inquiries, stimulates the little eye and hand. The child is found with its pencil, drawing; or he asks for a book on Venice, or wants to hear the history of the Roman Forum.

But I have made my article too long. I will write another on the moral and intellectual effects of house-furnishing.

* * * * *

"I have proved my point, Miss Jennie, have I not? _In house-furnishing, nothing is more economical than beauty_."

"Yes, papa," said Jennie; "I give it up."

* * * * *

THE BLACK PREACHER.

A BRETON LEGEND.

At Carnac in Brittany, close on the bay,
They show you a church, or rather the gray
Ribs of a dead one, left there to bleach
With the wreck lying near on the crest of the beach;
Roofless and splintered with thunder-stone,
'Mid lichen-blurred gravestones all alone,
'Tis the kind of ruin strange sights to see
That may have their teaching for you and me.

Something like this, then, my guide had to tell,
Perched on a saint cracked across when he fell.
But since I might chance give his meaning a wrench,
He talking his _patois_ and I English-French,
I'll put what he told me, preserving the tone,
In a rhymed prose that makes it half his, half my own.

An abbey-church stood here, once on a time,
Built as a death-bed atonement for crime:
'Twas for somebody's sins, I know not whose;
But sinners are plenty, and you can choose.
Though a cloister now of the dusk-winged bat,
'Twas rich enough once, and the brothers grew fat,
Looser in girdle and purpler in jowl,
Singing good rest to the founder's lost soul.
But one day came Northmen, and lithe tongues of fire
Lapped up the chapter-house, licked off the spire,
And left all a rubbish-heap, black and dreary,
Where only the wind sings _miserere_.
Of what the monks came by no legend runs,
At least they were lucky in not being nuns.

No priest has kneeled since at the altar's foot,
Whose crannies are searched by the nightshade's root,
Nor sound of service is ever heard,
Except from throat of the unclean bird,
Hooting to unassoiled shapes as they pass
In midnights unholy his witches' mass,
Or shouting "Ho! ho!" from the belfry high
As the Devil's sabbath-train whirls by;
But once a year, on the eve of All-Souls,
Through these arches dishallowed the organ rolls,
Fingers long fleshless the bell-ropes work,
The chimes peal muffled with sea-mists mirk,
The skeleton windows are traced anew
On the baleful flicker of corpse-lights blue,
And the ghosts must come, so the legend saith,
To a preaching of Reverend Doctor Death.

Abbots, monks, barons, and ladies fair
Hear the dull summons and gather there:
No rustle of silk now, no clink of mail,
Nor ever a one greets his church-mate pale;
No knight whispers love in the _châtelaine's_ ear,
His next-door neighbor this five hundred year;
No monk has a sleek _benedicite_
For the great lord shadowy now as he;
Nor needeth any to hold his breath,
Lest he lose the least word of Doctor Death.

He chooses his text in the Book Divine,
Tenth verse of the Preacher in chapter nine:--
"'Whatsoever thy hand shall find thee to do,
That do with thy whole might, or thou shalt rue;
For no man is wealthy or wise or brave
In that quencher of might-bes and would-bes, the grave.'
Bid by the Bridegroom, 'To-morrow,' ye said,
And To-morrow was digging a trench for your bed;
Ye said, 'God can wait; let us finish our wine';
Ye had wearied Him, fools, and that last knock was mine!"

But I can't pretend to give you the sermon,
Or say if the tongue were French, Latin, or German;
Whatever he preached in, I give you my word
The meaning was easy to all that heard;
Famous preachers there have been and be,
But never was one so convincing as he;
So blunt was never a begging friar,
No Jesuit's tongue so barbed with fire,
Cameronian never, nor Methodist,
Wrung gall out of Scripture with such a twist.

And would you know who his hearers must be?
I tell you just what my guide told me:
Excellent teaching men have, day and night,
From two earnest friars, a black and a white,
The Dominican Death and the Carmelite Life;
And between these two there is never strife,
For each has his separate office and station,
And each his own work in the congregation;
Whoso to the white brother deafens his ears,
And cannot be wrought on by blessings or tears,
Awake in his coffin must wait and wait,
In that blackness of darkness that means _too late_,
And come once a year, when the ghost-bell tolls,
As till Doomsday it shall on the eve of All-Souls,
To hear Doctor Death, whose words smart with the brine
Of the Preacher, the tenth verse of chapter nine.

* * * * *

FOUQUET THE MAGNIFICENT.

Modern times began in France with the death of Mazarin. Spain, Austria, and Italy no longer led the world in politics, literature, and refinement. The _grande nation_, delivered from _Ligue_ and _Fronde_, took her position with England at the head of civilized Europe. This great change had been going on during eighty years of battle, murder, anarchy, and confusion. As always, the new grew up unnoticed, until it overtopped the old. The transformation was complete in 1661, when Louis XIV. appeared upon the scene, and gave his name to this brilliant period, with not much better claim to the distinction than had Vespucci to America.

There had been a prodigious yield of brains in France. A host of clever men developed the new ideas in every direction. Philosophy and science, literature and language, manners, habits, dress, assumed the forms with which we are so familiar. Then commenced the _grand siècle_, the era Frenchmen date from. They look upon those gallant ancestors almost as contemporaries, and still admire their feats in war, and laugh over their strokes of wit. The books they wrote became classics, and were in all hands until within the last twenty or thirty years. Latterly, indeed, they have been less read, for thought is turning to fresh fields, and society seems to be entering upon a new era.

No man more fully recognized the great change that was going on, or did more to help it forward, than Nicolas Fouquet, Vicomte de Vaux, and Marquis de Belleîle,--but better known as the _Surintendant_. In the pleasant social annals of France, Fouquet is the type of splendor, and of sudden, hopeless ruin. "There was never a man so magnificent, there was never a man so unfortunate," say the lively gentlemen and ladies in their _Mémoires_. His story is told to point the old and dreary moral of the instability of human prosperity. It is, indeed, like a tale of the "Arabian Nights." The Dervish is made Grand Vizier. He marries the Sultan's daughter. His palace owes its magical beauty to the Genies. The pillars are of jasper, the bases and capitals of massive gold. The Sultan frowns, waves his hand, and the crowd, who kissed the favorite's slipper yesterday, hoot and jeer as they see him pass by to his dungeon, disgraced, stripped, and beaten, Fouquet was of good family, the son of a Councillor of State in Louis XIII.'s time. Educated for the magistracy, he became a _Maître des Requétes_ (say Master in Chancery) at twenty, and at thirty-five _Procureur-Général_ (or Attorney-General) of the Parliament of Paris, which was only a court of justice, although it frequently attempted to usurp legislative, and even executive functions. During the rebellious troubles of the Fronde, the Procureur and his brother, the Abbé Fouquet, remained faithful to Mazarin and to the throne. The Abbé, in the ardor of his zeal, once offered the Queen his services to kill De Retz and salt him, if she would give her consent. It was at the request of the Queen that the Cardinal made the trusty Procureur _Surintendant des Finances_, the first position in France after the throne and the prime-ministership.

Pensions, and the promise of comfortable places, had collected about the Surintendant talent, fashion, and beauty. Some of the ablest men in the kingdom were in his employ. Pellisson, famous for ugliness and for wit, the _Acanthe_ of the Hôtel de Rambouillet, the beloved of Sappho Scudéry, was his chief clerk. Pellisson was then a Protestant; but Fouquet's disgrace, and four years in the Bastille, led him to reëxamine the grounds of his religious faith. He became, luckily, enlightened on the subject of his heresies at a time when the renunciation of Protestantism led to honors and wealth. Change of condition followed change of doctrine. The King attached him to his person as Secretary and Historiographer, and gave him the management of the fund for the conversion of Huguenots. Gourville, whom Charles II., an excellent judge, called the wisest of Frenchmen, belonged to Fouquet, as a receiver-general of taxes. Molière wrote two of his earlier plays for the Surintendant. La Fontaine was an especial favorite. He bound himself to pay for his quarterly allowance in quarterly madrigals, ballads, or sonnets. If he failed, a bailiff was to be sent to levy on his stanzas. He paid pretty regularly, but in a depreciated currency. The verses have not the golden ring of the "Contes" and the "Fables."

"Le Roi, l'État, la Patrie,
Partagent toute votre vie."

That is a sample of their value. Quack-medicine poets often do as well. He wrote "Adonis" for Fouquet, and had worked three years at the "Songe de Vaux," when the ruin of his patron caused him to lay it aside. It is a dull piece. Four fairies, _Palatiane, Hortésie, Apellanire, and Calliopée_, make long speeches about their specialty in Art, as seen at Vaux. Their names sufficiently denote it. A fish comes as ambassador from Neptune to Vaux, the glory of the universe, where Oronte (Fouquet's _alias_, in the affected jargon of the period)

"fait bâtir un palais magnifique,
Où règne l'ordre Ionique
Avec beaucoup d'agrément."

Apollo comes and promises to take charge of the live-stock, and of the picture-gallery. The Muses, too, are busy.

"Pour lui Melpomène médite,
Thalie en est jalouse,"--

and soon--

Fouquet's physician, Pecquet, is well known to physiologists by his treatise, "_De Motu Chyli_," and by "Pecquet's reservoir." His patron was warmly interested in the new discoveries in circulation, which were then, and so long after, violently opposed by the _Purgons_ and the _Diafoirus_ of the old school. The Surintendant's judgment was equally good in Art. Le Brun, the painter, owed fame and fortune to him. He gave him twelve thousand livres a year, besides paying a fixed price for each of his works. With the exception of Renaudot's journal, Loret's weekly gazette, published in the shape of a versified letter to Mademoiselle de Longueville, was the only newspaper in France. Fouquet furnished the editor with money and with items. He allowed Scarron sixteen hundred livres a year, when Mazarin struck his name from the pension-list, as punishment for a "_Mazarinade_," the only squib of the kind the Cardinal had ever noticed. Poor Scarron was hopelessly paralyzed, and bedridden. He had been a comely, robust fellow in his youth, given to dissipated courses. In a Carnival frolic, he appeared in the streets with two companions in the character of bipeds with feathers,--a scanty addition to Plato's definition of man. This airy costume was too much for French modesty, proverbially shrinking and sensitive. The mob hooted and gave chase. The maskers fled from the town and hid themselves in a marsh to evade pursuit. The result of this venturesome _travestissement_ was the death of both his friends, and an attack of inflammatory rheumatism which twisted Scarron for life into the shape of the letter Z.

The Surintendant's _hôtel_, at St. Mandé, was a marvel of art, his library the best in France. The number and value of his books was urged against him, on his trial, as evidence of his peculations. His country-seat, at Vaux, cost him eighteen millions of livres. Three villages were bought and razed to enlarge the grounds. Le Vau built the _château_. Le Brun painted the ceilings and panels. La Fontaine and Michel Gervaise furnished French and Latin mottoes for the allegorical designs. Le Nôtre laid out the gardens in the style which may still be seen at Versailles. Torelli, an Italian engineer, decorated them with artificial cascades and fountains, a wonder of science to Frenchmen in the seventeenth century. Puget had collected the statues which embellished them. There was a collection of wild animals, a rare spectacle before the days of zoological gardens,--an aviary of foreign birds,--tanks as large as ponds, in which, among other odd fish, swam a sturgeon and a salmon taken in the Seine. Everything was magnificent, and everything was new,--so original and so perfect, that Louis XIV., after he had crushed the Surintendant, could find no plans so good and no artists so skilful as these _pour embellir son règne_. He was obliged to imitate the man he hated. Even Fouquet's men of letters were soon enrolled in the service of the King.

In March, 1661, Mazarin died, full of honor. His favorite saying, "_Il tiempo è un galantuomo_," was fulfilled for him. In spite of many desperate disappointments and defeats, _Messer Tiempo_ had made him rich, powerful, and triumphant. The young King, who had already announced his theory of government in the well-known speech, "_L'État, c'est moi_," waited patiently, and with respect, (filial, some have said,) for the old man to depart. He put on mourning, a compliment never paid but once before by a French sovereign to the memory of a subject,--by Henry IV. to Gabrielle d'Estrées. When the Council came together, the King told them, that hitherto he had permitted the late Cardinal to direct the affairs of State, but that in future he should take the duty upon himself,--the gentlemen present would aid him with their advice, if he should see fit to ask for it. It was a "neat little speech," and very much to the point: Louis XIV. had the talent of making neat little speeches. But the Surintendant, who presided in the Council, did not believe him. A prince, he thought, two-and-twenty years of age, fond of show and of pleasure, of moderate capacity, and with no education, might undertake for a while the cares of government, but, when the novelty wore off, would tire of the labor. And then, whose pretensions to shoulder the burden were so well founded as Fouquet's? He was almost a king, and had the political patronage of a president. The revenue of the nation passed through his hands. _Fermiers_ and _traitants_, those who farmed the taxes and those who gathered them for a consideration, obeyed his nod and laid their offerings at his feet. A judicious mixture of presents and promises had given him the control of judges enough in the different Parliaments to fortify his views of the public business by legal decisions. In his own Parliament he was supreme. Clever agents, stationed in important places, both at home and abroad, watched over his interests, and kept him informed of all that transpired, by faithful couriers. But he misunderstood his position, and was mistaken in his King. Louis XIV. had, indeed, little talent and less education. He could never learn Latin, at that time as much a part of a gentleman's training as French is now with us; but he had what for want of a more distinctive word we may call character,--that well-proportioned mixture of sense, energy, and self-reliance which obtains for its possessor more success in life, and more respect from those about him, than brilliant mental endowments. It was the moral side of his nature which was deficient. He was selfish, envious, and cruel; and he had not that noble hatred of the crooked, the mean, and the dishonorable which becomes a gentleman. Mazarin once said,--"There is stuff enough in him to make four kings and one worthy man." Divide this favorable opinion by four, and the result will be an approximation to the value of Louis XIV. as a monarch and a man. There was a king in him,--a determination to be master, and to bear no rival near the throne, no matter of how secondary or trifling a nature the rivalry might be.

Fouquet had been deep in Mazarin's confidence, his agent and partner in those sharp financial operations which had brought so much profit to the Cardinal and so little to the Crown. One of their jobs was to buy up, at an enormous discount, old and discredited claims against the Treasury, dating from the Fronde, which, when held by the right parties, were paid in full,--a species of fraud known by various euphemisms in the purest of republics. All the checks and balances of our enlightened system of administration, whether federal, state, or municipal, do not prevent skilful officials from perverting vast sums of money to their own uses. In France, demoralized by years of civil war, the official facilities for plundering were concentrated in the hands of one clever man. We can easily understand that his wealth was enormous, and his power correspondingly great.

When the late Cardinal, surfeited with spoils, was drawing near his end, scruples of conscience, never felt before, led him to advise the King to keep a strict watch upon the Surintendant. He recommended for that purpose his steward, Colbert, of whose integrity and knowledge of business he had the highest opinion. Colbert was made Under-Secretary of State, and Fouquet's dismissal from office determined upon from that time.

The Surintendant had no previsions of danger. With his usual boldness, he laid the financial "situation" of the kingdom before his new master, confessed frankly what it was impossible to conceal, laid the blame of all irregularities upon Mazarin, or upon the exigencies of the times, and ended by imploring an amnesty for the past, and promising thrift and economy for the future. The King appeared satisfied, and granted a full pardon. Fouquet, more confident than ever, dashed on in the old way, while Colbert and his clerks were quietly digging the pit into which he was soon to fall. Colbert was reinforced by Séguier, the Chancellor, and by Le Tellier, a Secretary of State, who had an energetic son, Louvois, in the War Department. All three hated the Surintendant, and each hoped to succeed him. Fouquet's ostentation and haughtiness had made him enemies among the old nobility. Many of them were eager to see the proud and prosperous man humiliated,--merely to gratify that wretched feeling of envy and spite so inherent in poor human nature, and one of the strongest proofs of that corruption "which standeth in the following of Adam."

Louis XIV. had reasons of his own for his determination to destroy the Surintendant. First of all, he was afraid of him. The Fronde was fresh in the royal memory. Fouquet had enormous wealth, an army of friends and retainers; he could command Brittany from his castle of Belleîle, which he had fortified and garrisoned. Why might he not, if his ambition were thwarted, revive rebellion, and bring back misery upon France? The personal reminiscences of the King's whole life must have made him feel keenly the force of this apprehension. He was ten years old, when, to escape De Retz and Beaufort, the Queen-Mother fled with him to St. Germain, and slept there upon straw, in want of the necessaries of life. After their return to Paris, the mob broke into the Louvre, and penetrated to the royal bedchamber. He could not well forget the night when his mother placed him upon his knees to pray for the success of the attempt to arrest Condé, who thought himself the master. He was twelve when Mazarin marched into France with seven thousand men wearing green scarfs, the Cardinal's colors, and in the Cardinal's pay. After the young King had joined them, the Parliament of Paris offered fifty thousand crowns for the Cardinal's head. He was thirteen when Condé, in command of Spanish troops, surprised the royalists at Bléneau, and would have captured King and Court, had it not been for the skill of Turenne. A few years before, Turenne had served against France, under the Spanish flag. The boy-King had witnessed the battle of St. Antoine,--had seen the gates of Paris closed against him, and the cannon of the Bastille firing upon his army, by order of his cousin, _Mademoiselle_, the grand-daughter of Henry IV. He had known a Parliament at Paris, and an Anti-Parliament at Pontoise. In 1651, Condé, De Retz, and La Rochefoucauld fought in the Palais Royal, almost in the royal presence. In 1652 he had been compelled to exile Mazarin again; and it was not until 1658 that Turenne finally defeated Condé and Don John of Austria, and opened the way to the Peace of the Pyrenees, and the marriage with the Infanta. Oliver Cromwell aided the King with six thousand of his soldiers in this battle, and seized upon Dunkirk to repay himself,--only three years before. No wonder Louis was anxious to place the throne beyond the reach of danger and insult, and to crush the only man who seemed to have the power to rekindle a civil war.

A stronger and a meaner motive he kept to himself. He was small-minded enough to think that a subject overshadowed him, _nec pluribus impar_. He hated Fouquet because he was so much admired,--because he was called the Magnificent,--because his _châteaux_ and gardens were incomparably finer than St. Germain or Fontainebleau,--because he was surrounded by the first wits and artists,--no trifling matter in that bright morning of French literature, when every gentleman of station in Paris aspired to be a _bel-esprit_, or, if that was impossible, to keep one in his employ. "_Le Roi s'abaissa jusqu'à se croire humilié par un sujet_." His "_gloire_" as he called it, was his passion, not only in war and in government, where it meant something, but in buildings and furniture, dress and dinners, madrigals and _bon-mots_. The monopoly of _gloire_ he must and would have,--nobly, if possible, but at any rate, and in every kind, _gloire_.

And the unlucky Surintendant had sinned against the royal feelings in a still more unpardonable way. The King was in love with La Vallière. He had surrounded his attachment with the mystery the young and sentimental delight in. Fouquet, quite unconscious of the royal fancy, had cast eyes of favor upon the same lady. Proceeding according to the custom of men of middle age and of abundant means, he had wasted no time in _petits soins_ and sighs, but, Jupiter-like, had offered to shower two hundred thousand livres upon the fair one. This proposition was reported to the King, and was the cause of the _acharnement_, the relentless fury, he showed in persecuting Fouquet. He would have dealt with him as Queen Christina had dealt with Monaldeschi, if he had dared. The hatred survived long after he had dismissed the fair cause of it from his affections, and from his palace.

Such was the Surintendant's position when he issued his invitation to the King, Court, and _bel-air_ for the seventeenth of August, 1661,--the _fête de Vaux_, which fills a paragraph in every history of France. In June, he had entertained the Queen of England in a style which made Mazarin's pageants for the Infanta Queen seem tasteless and old-fashioned. The present festival cast the preceding one into the shade. It began in the early afternoon, like a _déjeuner_ of our day. The King was there, the Queen-Mother, Monsieur, brother to the King, and Madame, daughter of Charles I. of England, attended by Princes, Dukes, Marquises, and Counts, with their quick-witted, sharp-tongued, and independent spouses. The highest and noblest of France came to stare at Fouquet's magnificence, to wonder at the strange birds and beasts, and to admire the fountains and cascades. After a walk about the grounds, the august company were served with supper in the _château_. Vatel was the _maître d'hôtel_. The King could not conceal his astonishment at the taste and luxury of the Surintendant, nor his annoyance when he recognized the portrait of La Vallière in a mythological panel. Over doors and windows were carved and painted Fouquet's arms,--a squirrel, with the motto, "_Quò non ascendam_?" The King asked a chamberlain for the translation. When the device was interpreted, the measure of his wrath was full. He was on the point of ordering Fouquet's instant arrest; but the Queen-Mother persuaded him to wait until every precaution had been taken.

After supper, the guests were conducted to the play. The theatre was at the end of an alley of pines, almost _al fresco_. The stage represented a garden decorated with fountains and with statues of Terminus. Scenery by Le Brun; machinery and transmutations by Torelli; stage-manager, Molière; the comedy, "_Les Fâcheux_," "The Bores," composed, written, and rehearsed expressly for this occasion, in the short space of fifteen days. This piece was put upon the stage in a new way. The ballet, introduced by Mazarin a few years before, was the fashion, and indispensable. As Molière had only a few good dancers, he placed the scenes of the ballet between the acts of the comedy, in order to give his artists time to change their dresses and to take three or four different parts. To avoid awkwardness in these transitions, the plot of the comedy was carried over into the pantomime. This arrangement proved so successful that Molière made use of it in many of his later plays.

The curtain rises upon a man in citizen's-dress (Molière). He expresses amazement and dismay at seeing so large and so distinguished an audience, and implores His Majesty to pardon him for being there without actors enough and without time enough to prepare a suitable entertainment. While he is yet speaking, twenty jets of water spring into the air,--a huge rock in the foreground changes into a shell,--the shell opens,--forth steps a Naiad (pretty Mademoiselle Béjart, a well-known actress,--too well known for Moliere's domestic comfort) and declaims verses written by Pellisson for the occasion. Here is a part of this prologue in commonplace prose; Pellisson's verses are of a kind which loses little by translation. The flattery is heavy, but Louis XIV. was not dainty; he liked it strong, and probably swallowed more of it with pleasure and comfort during fifty years than any other man.

"Mortals," said _la Béjart_, "I come from my grotto to look upon the greatest king in the world. Shall the land or the water furnish a new spectacle for his amusement? He has only to speak,--to wish; nothing is impossible to him. Is he not himself a miracle? And has he not the right to demand miracles of Nature? He is young, victorious, wise, valiant, and dignified,--as benevolent and just as he is powerful. He governs his desires as well as his subjects; he unites labor and pleasure; always busy, never at fault, seeing all, hearing all. To such a prince Heaven can refuse nothing. If Louis commands, these Termini shall walk from their places, these trees shall speak better than the oaks of Dodona. Come forth, then, all of you! Louis commands it. Come forth to amuse him, and transform yourselves upon this novel stage!" Trees and Termini fly open. Dryads, Fauns, and Satyrs skip out. Then the Naiad invokes Care, the goddess whose hand rests heavily upon monarchs, and implores her to grant the great King an hour's respite from the business of State and from his anxiety for his people. "Let him give his great heart up to pleasure. To-morrow, with strength renewed, he will take up his burden, sacrifice his own rest to give repose to mankind and maintain peace throughout the universe. But to-night let all _fâcheux_ stand back, except those who can make themselves agreeable to him." The Naiad vanishes. The Fauns dance to the violins and hautboys, until the play begins.

After the comedy, the spectators walked slowly to the _château_. A _feu d'artifice_, ending in a bouquet of a thousand rockets from the dome, lighted them on their way back. Another repast followed, which lasted until the drums of the royal _mousquetaires_, the King's escort, were heard in the courtyard. This was the signal for breaking up.

The Surintendant seemed to be on the highest pinnacle of prosperity, beyond the reach of Fate. There was at Rome a Sire de Maucroix, sent thither by Fouquet on his private business. To him his friend La Fontaine wrote a full description of the day, and of the effect Vaux had produced upon the fashionable world. "You would think that Fame [_la Renommée_] was made only for him, he gives her so much to do at once.

'Plein d'éclat, plein de gloire, adoré des mortels,
Il reçoit des honneurs qu'on ne doit qu'aux autels.'"

A few days later, the Surintendant arrived at Angers, on his way to Nantes. Arnauld writes, that the Bishop of Angers and himself waited upon the great man to pay their respects. "From the height upon which he stood, all others seemed so far removed from him that he could not recognize them. He scarcely looked at us, and Madame, his wife, seemed neither less frigid nor more civil." On the fifth of September, nineteen days after the _fête_, the thunderbolt fell upon him.

A _Procureur-Général_ could be tried only by the Parliament to which he belonged. To make Fouquet's destruction more certain, Colbert had induced him, by various misrepresentations, to sell out. He received fourteen hundred thousand livres for the place, and presented the enormous sum to the Treasury. This act of munificence, or of restitution, did not save him. If he had been backed by fifty thousand men, the King could hardly have taken greater precautions. His Majesty's manner was more gracious than ever. To prevent a rising in the West, Louis journeyed to Nantes, which is near Belleîle. Fouquet accompanied the progress with almost equal state. He had his court, his guards, his own barge upon the Loire,--and travelled brilliantly onward to ruin. The palace in Nantes was the scene of the arrest. Fouquet, suspecting nothing, waited upon the King. Louis kept him engaged in conversation, until he saw D'Artagnau, a name famous in storybooks, and the _mousquetaires_ in the courtyard. Then he gave the signal. The Surintendant was seized and taken to Angers, thence to Amboise, Vincennes, and finally to the Bastille. He was confined in a room lighted only from above, and allowed no communication with family or friends. The mask was now thrown off, and the blow followed up with a malignant energy which showed the determination to destroy. The King was very violent, and said openly that he had matter in his possession which would hang the Surintendant. His secretaries and agents were arrested. His friends, not knowing how much they might be implicated, either fled the kingdom, or kept out of the way in the provinces. Pellisson and Dr. Pecquet were sent to the Bastille; Guénégaud lost half his fortune; the Bishop of Avranches had to pay twelve thousand francs; Gourville fled to England; Pomponne was ordered to reside at Verdun. Fouquet's papers were examined in the presence of the King. Letters were there from persons in every class of life,--a very large number from women, for the prisoner had charms which the fair sex have always found it difficult to resist. Madame Scarron had written to thank him for his bounty to the poor cripple whose name and roof protected her. The King had probably never before heard of this lady, who was to be the wife and ruler of his old age. The portfolio contained specimens of the gayest and brightest of letter-writers. In the course of his career, the gallant Surintendant had attempted to add the charming widow Sévigné to his conquests. She refused the temptation, but always remained grateful for the compliment. Le Tellier told her cousin, Bussy-Rabutin, that the King liked her letters,--"very different," he said, "from the _douceurs fades_"--the insipid sweet things--"of the other feminine scribes." Nevertheless, she thought it prudent to reside for a time upon her estate in Brittany. A copy of a letter by St. Évremond was found, written three years before from the Spanish frontier. It was a sarcastic pleasantry at the expense of Mazarin and the _Paix des Pyrénées_, St. Évremond was a soldier, a wit, and the leader of fashion; Colbert hated him, and magnified a _jeu d'esprit_ into a State-crime. He was exiled, and spent the rest of his long life in England. Of the baser sort, hundreds were turned out of their places and thrown penniless upon the world. It was a _coup d'état_, a revolution, and most people were against Fouquet. It is such a consolation for the little to see the mighty fall!