Never was a princely journey more triumphal than that of the Duchess of Berry in the provinces of the west in 1828. Madame, who left Paris June 16, returned there October 1, and there was not a day in these three months that she was not the object of enthusiastic ovations. In a book of nearly six hundred pages, Viscount Walsh has described, with the fidelity of a Dangeau, this journey in which the mother of the Duke of Bordeaux was treated like a queen of a fairy tale.
The 16th of June, the Princess slept at Rambouillet, where two years later such cruel trials were to come to her. The 18th, she visited Chambord, where she was received by Count Adrien de Calonne, the author of the project of the subscription, thanks to which this historic chateau became the property of the Duke of Bordeaux.
In the face of the wind, which was blowing with force, Madame ascended to the highest point of the chateau, the platform of the lantern called Fleur-de-Lis at the end of the famous double balustered staircase. From there her glance wandered over the vast extent of the park, with a circumference of eight leagues, and enclosing, besides six or seven thousand acres of woodland, twenty-three farms, whose buildings, cultivated fields, and scattered flocks, animated the view in all directions. On descending, she said: "I should like to mark my name here; I shall love to see it again when I come to visit the Duke of Bordeaux." And with a stiletto she cut these words: "18th June—Marie Caroline." Some young girls presented her with lambs white as snow, decorated with green and white ribbons, and with a tame roe, on whose collar was engraved: "Homage of the people of Chambord." The same day she paid visits at their chateaux to Marshal Victor, Duke of Bellune, and to the Duke d'Avaray. In the evening she returned to Blois. Madame left there the 19th of June, after examining the Salle des Etats, the room in which the Duke of Guise was assassinated, and the tower where Catharine de' Medici used to consult the astrologers. The 20th, she attended at Saumur a brilliant tournament given in her honor by the Cavalry School. The 21st, she entered Angers amid shouts and cheers. The 22d, she visited the chateau of Count Walsh de Serrant. Her carriage passed under vaults of verdure adorned with flowers and banners.
The Princess arrived the same day at Saint Florent, which, in 1793, had given the signal for the war of the Vendee, and where the Vendean army had effected the famous passage of the Loire, comparable to that of the Berezina. There the aged witnesses of the struggles described by Napoleon as "a war of giants," had assembled near the tomb of Bonchamp to await the Duchess of Berry. All the neighboring heights were bristling with white flags. From afar they were seen fluttering on the church-towers, on the chateaux, over cottages, on isolated trees. They were to be seen even above the graves in the cemeteries. A son had said: "My father died for the white flag; let us plant it on his grave; the dead should rejoice, for Madame comes to honor their fidelity." The example was followed, and the tombs bore the rallying sign of those who rested there. When on the borders of the Loire, the Princess paused a moment, struck with the majesty of the scene. The cannon mingled their noble voices with the acclamations of fifteen thousand Vendedans. The stream was covered with a swarm of boats, dressed with flags. A magnificent sun lighted up this fete.
It was ten o'clock when Madame arrived at Milleraye, opposite Saint Florent. It was there that General de Bonchamp, one of the heroes of the Vendee, had given up his soul to God. The cottage where the soldiers had laid him to die was shown. His widow awaited the Duchess of Berry. What contrast between the festivity of Saint Florent and the consternation of the days of grief and misfortune, when, in October, 1793, its people fled to the right bank of the Loire, leaving their houses a prey to the flames! The cries of distress and despair which sounded along the banks of the stream in that fatal year, were now replaced by shouts of joy. Madame embarked amid cheers. Her boat was escorted by a great number of others, six of which contained Vendeans bearing flags torn by bullets in the battles of Fontenay and of Torfou, of Laval, and of Dol. Grouped on the hill-slopes of Saint Florent, more than fifteen thousand spectators followed with their gaze the flotilla, in the midst of which they saw the Duchess of Berry, standing, visibly agitated. She landed upon the plateau of Saint Florent, and ascended on foot the hill that led to it. When she reached the summit, she found herself in the midst of a camp of five thousand Vendean soldiers who had taken part in the war of 1793 or in the arming of 1815. There it was that Cathelineau, as in the time of the crusades, cried: "It is God's will. Let us march!"—"Oh, what a people!" said the Princess. "What fine and honest faces! What an accent in their cries of 'Long live the King!' Yes, plainly they love us." She proceeded to the church of Saint Florent, where, kneeling beneath a canopy, she heard Mass. She regarded with attention the tomb of Bonchamp, and said, as she beheld his statue: "He looks as if he were still commanding."
On leaving the church, she went to see the place where Bonchamp is buried, and, under a tent, partook of a repast offered her by the Countess d'Autichamp. She had recounted to her in detail the celebrated passage of the Loire, the disastrous period when all the city of Saint Florent was burned by order of the Convention, and the only house left standing was the one occupied by the republican General LEchelle as his headquarters.
At three o'clock in the afternoon, Madame embarked anew on the steamboat awaiting her at the point of Varades, and proceeded in this way to Nantes. The inhabitants from the two banks of the stream greeted her upon her passage. The red aprons and white caps of the women contrasted, in the landscape, with the sombre, costume of the men. That she might be better recognized by the crowd, the Princess, clad in a simple robe of brown silk, with a long chain of gold at the neck, separated herself from her suite, mounted to the highest point on the boat, and greeted with voice and gesture all these faithful people. The men waved banners and standards. The women raised their little children in their arms and said: "Look at her well; it's the mother of the Duke of Bordeaux."
The people seemed to walk upon the water to get a nearer view of Madame. Not a rock pushing out into the stream that was not occupied. Where the Loire was too wide for the features of the Princess to be seen from the shore, the dwellers on the banks had, so to speak, brought them together, by forming in the middle of the stream streets of boats, with their flags and their triumphal arches. At a league from Saint Florent a rock juts into the water of the Loire. Here was an aged Vendean, all alone, his white hair fluttering in the wind. Erect upon the rock, he was holding a white flag, and at his feet was a dog. It was, according to the Moniteur, a symbol of faithful Vendee.
The same day, June 22, at seven in the evening, the Princess reached Nantes. She passed on foot from the Port Maillard to the Prefecture, and had difficulty in getting through the innumerable multitude. The next day she was at Savenay, where, on leaving the church, she paused to contemplate the monument raised to the memory of the victims of the battle of the 23d of September, 1793. The 24th, she went to Saint Anne d'Auray, a pilgrimage venerated throughout all Brittany, and visited the Champ des Martyrs, the little plain where thirty-three years before, the EMIGRES taken at Quiberon had been shot, despite their capitulation. When Madame appeared on the consecrated field, the crowd cheered her, then became still, and amid solemn silence, sang the de Profundis.
The 25th, the Princess was at Lorient, and there laid the corner-stone of the monument erected to Bisson, the lieutenant of the navy who, in the Greek expedition, October, 1827, being charged with the command of a brig taken from the Turks by Admiral de Rigny's fleet, blew up the vessel, with the crew, rather than surrender. After visiting Rennes, she returned to Nantes, the 28th of June. A triumphal arch had been constructed on the Place des Changes, with this inscription: "Lilies for our Bourbons. Laurels for Henry. Roses for Louise." The flower and fruit girls had written on their arch of verdure: "Our flowers, our fruits, our hearts, are Madame's." The 29th, the Duchess attended a magnificent ball given by the city. The next day she visited the Trappist Convent at Melleray. It was difficult to persuade her to go away. "Where shall I find more happiness than here?" she said. "Elsewhere there are pleasures and distractions, but none here. Since I make them happy, I would remain; and I am very well pleased."
The 30th, at evening, Madame arrived at Tremiciniere, at the house of the Countess de Charette, the sister-in-law of the famous Vendean chief. July 1, she entered Bocage. From there no more wide roads, no more cities of easy approach; bad ways, long distances without relays, obstacles of all sorts. Clad in a green riding-habit, with a gray felt hat and a gauze veil, Madame galloped between Madame de la Rochejaquelein and Madame de Charette. At her arrival at Saint Hilaire, the Marquis de Foresta, Prefect of La Vendec, said to her: "Madame does not like phrases; La Vendee does not make them; it has but one sentiment and one cry to express it: Long live the King! Long live Madame! Forever live the Bourbons!"
The peasants never wearied of admiring her intrepidity. When her horse, excited by the cries and the beating of the drums, pranced and reared, they were heard to say: "Oh! the brave little woman; she is not frightened." A villager exclaimed: "I have never regretted my old father so much as today; one day like this would have repaid him for all the hardships he suffered."
Madame passed the night at the Chateau of Lagrange, the property of the Marquis de Goulaine. On entering her chamber she found by her bed a night-lamp, with this motto: "Rest tranquilly; La Vendee is watching."
On the 3d of July, she visited the Champ des Mattes, where in 1815 the Marquis Louis de La Rochejaquelein was killed at the head of the Vendeans in insurrection against Napoleon. The same day she was at Bourbon-Vendee. The 5th of July, at the crossing of the Quatre Chemins, in sight of the roads from Nantes, from Bourbon, from Saumur, and from La Rochelle, she laid the first stone of a monument to perpetuate the memory of the Vendean victories. She returned afterward to the Chateau de Mesnard, the property of her first equerry, the one who traced so well the itinerary of her journey. All the inhabitants of the bourg of Mesnard had taken part in the great Vendean war, and, their cure at their head, marched as far as Granville. The mother of the first equerry, then a widow, and whose two sons were in the army of Conde, had followed her former peasants, with her daughter, and died at Lagrande at the time of the disastrous retreat. Madame de la Rochejaquelein, in her Memoirs, speaks of the sad state in which she saw her. In memory of so much devotion, Madame wished to open a bal champetre with a veteran of the bourg of Mesnard.
That night the Princess slept at the Chateau of Landebaudiere, belonging to Count Auguste de La Rochejaquelein. Everywhere the villagers came to the gates of the chateaux to enlist in their joys as formerly they had enlisted in their combats,—Lescure, La Rochejaquelein, d'Elbee, Charette. The 6th, Madame visited the field of the battle of Torfou. A former officer of the army of La Vendee, noting that she wore a green riding-habit, said to her: "We were always attached to our uniform, but we cherish it more than ever to-day, when we see that we wear the colors of Madame."—"Gentlemen," replied the Princess, "I have adopted your uniform." She breakfasted in the open air, amid the Vendeans under arms.
Madame continued her journey on horseback. Nothing could stop her, neither oppressive heat nor rain-storms. When she was spoken to of her fatigues, "It is only fair," she responded, "that I should give myself a little trouble to make the acquaintance of those who have shed their blood for us." Most of the time she took her repast in the open air. The peasants strolled around the table and fired salutes with their old muskets; for in Vendee there is no fete without powder. Then to the sound of the biniou and of the veze they moved in joyous dances in which the daughter of kings did not disdain to take part. On entering every village she was greeted by the cures of the parish and the neighboring parishes. Nearly all were old soldiers whose hands had borne the sword before carrying the cross.
Near the boundaries of the department of La Loire-Inferieure Madame alighted. "Here is a farm," she said; "let us knock and ask for some milk." The doors were not closed. On entering the room of the farm-wife,—who was absent,—the Princess found only a very little infant asleep and swaddled in a cradle. Then she seated herself on a stool, and after the fashion of the country, set herself to rocking, with her foot, the babe of the poor peasant-woman. The 6th of July, at nine in the evening, she reached Beaupreau. The city, built in the form of an amphitheatre, was illuminated; an immense bonfire had been lighted. The next day Madame laid the corner-stone of a monument in honor of d'Elbee, and saluted at Pinen-Mauges, the statue of Cathelineau. The 8th of July, she was at the Chateau of Maulevrier, whose owner, M. de Colbert, had erected a monument to the memory of Stofflet, the heroic huntsman. The same day, at Saint Aubin, she laid the first stone of another monument raised to the four heroes of La Vendee,—Dornissan, Lescure, Henry and Louis de La Rochejaquelein.
The 10th of July, the Princess was at Lucon, the 11th at La Rochelle, the 12th at Rochefort, the 13th at Blaye, the 14th at Bordeaux. The "faithful city," as the capital of the Gironde was then named, distinguished itself by its enthusiasm. A little girl of eight years, Mademoiselle du Hamel, surrounded by her young companions, daughters of members of the municipal government read a welcome to the mother of the Duke of Bordeaux as follows:—
"Madame, while our fathers have the honor to offer you their hearts and their arms, permit us, children, to offer to you the flowers and the prayers of innocence. In choosing me as their interpreter, my young companions have doubtless wished to recall to you an angel who is dear to you; but if alone of them all I have the fortune to count the same number of years as Mademoiselle, we all rival each other in cherishing you, we all repeat with an enthusiasm rendered purer and more simple by our age, Long live the King! Long live Madame!"
In the evening the "Mother of the Little Duke," as the Bordelais called the Princess, went to the chief theatre, where she was received with frenzied applause. The statue of the Duke of Bordeaux, supported by soldiers under a canopy of flags, and crowned with laurels, was brought to the front of the stage, while a cortege formed by a detachment of troops of the line, and by all the company of the theatre, filed by, military music resounded. Then a cantata was sung.
On the morrow, at a grand ball offered to her by the city, Madame was seated upon a platform that was surmounted by a fine portrait of her son. Eight hundred women, crowned with white plumes, flowers, and diamonds, cheered her. The 18th, she slept at Pau, the native place of Henry IV. The mountaineers, descending from their heights, banner in hand, with their Basque costumes, came to meet her. The next day she visited the castle where was born the Bearnais, whose cradle, formed of a great tortoise-shell, she saw: it was shaded by draperies and white plumes. The following day she visited the environs. To descend into the valley of Ossun, she donned the felt hat and the red sash worn by the peasants of Bearn. As she was looking at the spring of Nays, a mountaineer offered her some water in a rustic dish, and said naively: "Are you pleased with the BEarnais, Madame?"—"Am I not pleased!" replied the Princess, eagerly. "See, I wear the hat and sash of the country!"
The 24th, she was at the Ile des Faisans, famous in the souvenirs of Louis XIV.; the 25th, at Bayonne, where she assisted at a military fete. In all her excursions, Madame carried her pencils with her, and almost every day sketched some picturesque site. Eight Bearnais, with an amaranth belt and hats of white and green, served her as a guard of honor. She passed all the month of August and a part of the month of September in the Pyrenees. The mountaineers never wearied of admiring the hardihood, the gaiety, the spirit, shown by her in making the most difficult ascensions. The 9th of September, she quitted Bagneres-de Luchon to return to Paris, passing through Toulouse, Montauban, Cahors, Limoges, and Orleans. It was one long series of ovations. The 1st of October, Madame returned to the Tuileries. She had been accompanied all through her journey by the Marechale Duchess of Reggio, lady of honor; by the Marchioness of Podenas, lady companion; and by Count de Mesnard, first equerry.
The Duchess of Berry returned enchanted. Could she suspect the reception that awaited her, four years later, in the places where she had just been the object of veritable worship? When she was received at Nantes as a triumphant sovereign, could she believe that the time was approaching when, in that same city, she would have hardly a stone on which to lay her head and where she would seek a futile refuge in the chimney-piece—mysterious hiding-place—of the house of the Demoiselles Duguigny? At Blaye could she imagine that the citadel, hung with white flags, whose cannon were fired in her honor, would so soon become her prison? Poor Princess! She had taken seriously the protestations of devotion and fidelity addressed to her everywhere. They asked her to promise that if ever the rights of her son were denied, she would defend them on the soil of La Vendee, and she had said to herself: "I swear it." The journey of 1828 held the germ of the expedition of 1832.
No society in Europe was more agreeable and brilliant than that of the Duchess of Berry. The fetes given by the Princess in the salons of the Pavilion de Marsan at the Tuileries were marked by exceptional elegance and good taste; the Petit Chateau, as her vivacious social staff was called at that time, had an extraordinary brightness and animation. At the carnival of 1829 Madame organized a costume ball, which, for its brilliancy, was the talk of the court and the city. All the costumes were those of one period,—that at which the dowager queen of Scotland, Marie of Lorraine, widow of James V., came to France to visit her daughter, Mary Stuart, wife of the King, Francis II. It was decided that Mary Stuart should be represented by the Duchess of Berry, and the King, Francis II., by the oldest of the sons of the Duke of Orleans, the Duke of Chartres, who was then eighteen and one-half years old, and who was, the next year, to take the title of Duke of Orleans, on the accession of his father to the throne. The apartments of the Children of France in the Pavilion de Marsan were chosen for the ball, and the date was fixed at Monday, March 2, 1829.
The King, the Dauphin and Dauphiness, the Duke and Duchess of Orleans, appeared at the fete, but not in costume. Charles X. came after the hour of giving out the general orders. The Dauphin, the Dauphiness, and the Duke of Orleans arrived at 8 P.M. The entry of the four queens, Mary Stuart, Marie of Lorraine, Catharine de' Medici, Jeanne d'Albret, was announced by the band of the bodyguards which preceded them. The cortege was magnificent, the costumes of the princes and their ladies resplendent. To increase its richness, the Dauphiness had lent not only her own jewels, but a part of those of the crown. The invited guests not taking part in the cortege occupied places already assigned them. They wore a uniform costume of silver gauze and white satin. This coolness of tone produced a charming effect when at the arrival of the cortege all rose. In the ball-room a platform had been prepared with a throne for Mary Stuart. The Duchess of Berry, as the famous queen, wore with great grace a dazzling toilet—crown of diamonds, high collar, blue velvet robe with wide sleeves, front of white satin bordered with ermine. The Duke of Chartres, a handsome boy and brilliant cavalier, as King Francis II., wore a cap with white plumes, and a dark blue velvet doublet with ornaments of gold. His brother, the Duke of Nemours, fourteen years old, was in the character of a page to the King, with a white satin doublet, and recalled in his features the youth of Henry IV. The Duchess of Berry, playing to perfection her role of queen, advanced to the throne. The Duke of Chartres gave her his hand to ascend the steps. Then she made a sign to be seated; but the young Prince remained standing. Placing himself behind the throne, and removing his cap with white plumes, he bowed low and said: "Madame, I know my place." The Duchess of Gontaut spoke to the Duchess of Orleans, and asked her if she had remarked the tact of her son the Prince. "I remarked it," replied the Princess, "and I approve of it."
The ball commenced. There was present a great Scotch lord, the Marquis of Huntley, who belonged to a very illustrious Jacobite house. In his youth he had been what was then called a beau danseur, and had had the honor of opening a fancy dress ball at the Chateau of Versailles with the Queen Marie Antoinette. Charles X. remembered it and wished that the Marquis, then nearly eighty, should open the ball with little Mademoiselle, who was but nine. Still a beau danseur, the old Englishman had not forgotten the pirouettes of Versailles; all the court admired, and the young princes were greatly amused.
The ball was a marvellous success. It was a revival of the beautiful fetes of the Renaissance. The sixteenth century, so elegant, so picturesque, lived anew. A painter, who was then but twenty-nine, and who had already a great vogue, M. Eugene Lamy, perpetuated its memory in a series of twenty-six watercolors, which have been lithographed, and form a curious album. (A copy of this album is in the National Library, in the Cabinet of Engravings.) It contains, besides, four water-colors, representing one, the ascent of the stairway of the Pavilion de Marsan by the guests; another, Mary Stuart seated on the throne; a third, one of the dances of the ball; a fourth, the entrance of the Dowager Queen of Scotland twenty-two reproductions of the principal personages at the fete. At the left are the arms of the historic personages represented, and at the right those of the representative. Then above the portrait of the Duchess of Berry there are at the left the arms of Scotland and France, and at the right those of France and the Two Sicilies, and above the portrait of the Duke of Chartres at the left the arms of France, at the right the ducal blazon of Orleans.
Here are the names of the twenty-two persons who figure in the album of M. Eugene Lamy, with the personages represented:—
1. The Duchess of Berry (Mary Stuart).
2. The Duke of Chartres (Francis II.).
3. The Duke de Nemours (a king's page).
4. Lady Stuart de Rothsay (Marie de Lorraine). Daughter of Lord Hardwicke, she was the wife of Lord Stuart de Rothsay, ambassador of England at Paris.
5. The Marquis of Douglas, since Duke of Hamilton (the Duke de Chatellerault), a finished type of the great Scotch lord; he married in 1843 the Princess Mary of Baden, and under the reign of Napoleon III. added to his titles of Hamilton and of Brandon in Scotland and England, the title of Duke de Chatellerault, in France, which had formerly belonged to the Hamilton family.
6. The Marchioness of Podenas, NEE Nadaillac (Catharine de' Medici). Lady companion of the Duchess of Berry, she was one of the brightest women of the court.
7. The Count de Pastoret, married to a de Neufermeil (Duke of Ferrara).
8. The Marquis de Vogue (the Vidame de Chartres). Married to a Mademoiselle de Machault d'Arnouville; his son was the diplomat who was ambassador under the presidency of Thiers and of Marshal Macmahon.
9. Count Ludovic de Rosanbo (Duke de Guise). He was one of the handsomest men of his time. He had married the daughter of the Count de Mesnard, lady companion to the Duchess of Berry.
10. The Countess de La Rochejaquelein, daughter of the Duke de Duras (a lady of honor to the Queen). She was honorary lady companion to the Duchess of Berry.
11. Miss Louise Stuart (a page to the Queen-Mother of Scotland).
12. Miss Pole Carew (Mary Seaton, maid of honor to the same queen).
13. The Count de Mailly (Rene de Mailly, officer of the guard to Mary Stuart). The Count was the son of the Marshal de Mailly, defender of the Tuileries on August 10, who paid for his devotion on the scaffold of the Revolution. Aide-de-camp of the Duke of Bordeaux, and lieutenant-colonel; he was a brilliant officer who had received glorious wounds in the Russian campaign. He was married to a Mademoiselle de Lonlay de Villepail.
14. The Countess d'Orglandes, NEE Montblin, one of the prettiest women of the court (Louise de Clermont-Tonnerre, Countess of Crussol).
15. The Duchess de Caylus, NEE La Grange, a great beauty, remarried afterwards to the Count de Rochemure (Diane de Poitiers).
16. Mademoiselle de Bearn, a charming young girl, married afterwards to the Duke of Vallombrosa, and dying so young and so regretted (a maid of honor to Mary Stuart).
17. Count de Mesnard, peer of France, field marshal, first equerry of the Duchess of Berry, aide-de-camp of the Duke of Bordeaux (Admiral de Coligny).
18. Marquis de Louvois, peer of France, married to Mademoiselle de Monaco (Count Gondi de Ritz).
19. The Duke of Richelieu, nephew of the President of the Council of Ministers of Louis XVIII. (Jacques d'Albon, Marshal of Saint Andre).
20. The Baron de Charette (Francois de Lorraine). He had married a daughter of the Duke of Berry and of Miss Brown. His son was the general of the Papal Zouaves.
21. Countess de Pastoret, NEE Neufermeil (the Duchess of Montpensier).
22. The Countess Auguste de Juigne, NEE Durfort de Civrac (Jeanne d'Albret).
Among the pages were the Duke de Maille, who carried the banner of France, and Count Maxence de Damas.
Eugene Lamy, at the age of eighty-seven, exhibited in 1887 a charming water-color, of which the subject was "A Ball under Henry III." He has the same talent, the same brightness, the same freshness of coloring as when, fifty-eight years before, he painted the water colors of the Mary Stuart ball. The Duke de Nemours, one of the last survivors of the guests of this ball, could recount its splendors. Even in the time of the old regime no more elegant ball was ever seen. If such a fete had been given in our time, the detailed accounts of it would fill the papers; but under the Restoration the press was very sober in the matter of "society news," and the dazzling ball of 1829 was hardly mentioned. On the morrow, the Journal des Debats said:—
"PARIS, 2d of March.
"The ball given at the Pavilion Marsan, in the apartments of the Children of France, was honored by the presence of the King, M. the Dauphin and Madame the Dauphiness. Mgr. the Duke of Orleans and his family arrived at eight o'clock.
"Tomorrow there will be a play at the Court Theatre; the actors of the opera will play La Muette de Portici."
Beside the persons who figure in the album of M. Eugene Lamy many others were to be noted. Let us mention the Countess Hemi de Biron, the Marchionness Oudinot, the Countess de Noailles, who represented Margaret of Savoy, Claude Duchess of Lorraine, the Princess de Conde, the Princess of Ferrara; the Count A. de Damas, as Lanoue Bras-de-Fer; Monsieur de San Giacomo, as Francois de' Medici; the Countess de Montault, as Countess de Coligny; the Marchioness de Montcalm, as the Duchess de Bouillon; the flower of the English aristocracy,—Lady Aldborough, Lady Rendlesham, Lady Cambermere, Lady Vernon, Lord Ramlagh, Captain Drummond, Lord Forwich, Lord Abayne, Miss Caulfuld, Miss Thelusson, Miss Baring, Miss Acton, and, lastly, the Counts de Cosse de Biron, and de Brissac, representing the three marshals of France whose names they bore.
In donning the costume of the unfortunate queen whose sorrows could only be compared to those of Marie Antoinette, the Duchess of Berry proved how free her mind was from all gloomy presentiments, forgetting that the family of the Bourbons had already had its Charles I., and not foreseeing that it was soon to have its James II., the amiable Princess hardly suspected that in the course of next year, she would be an exile in Scotland in the castle of Mary Stuart.
From 1824 to the end of the Restoration, the department of the Fine Arts, connected with the ministry of the King's household, was confided to the Viscount Sosthenes de la Rochefoucauld, son of the Duke de Doudeauville. He was then at the head of the museums, the royal manufactures, the Conservatory and the five royal theatres,—the Opera, the Francois, the Odeon, the Opera-Comique, and the Italiens.
From the point of view of arts and letters the reign of Charles X. was illustrious. The King encouraged, protected, pensioned the greater number of the great writers and artists who honored France. What is sometimes called in literature the generation of 1830 would be more exactly described as the generation of the Restoration. This regime can claim the glory of Lamartine, as poet. A body-guard of Louis XVIII., he was the singer of royalty. He published, in 1820, the first volume of his Meditations Poetiques, in 1823 the second, and in 1829 the Harmonies. His literary success opened to him the doors of diplomacy. He was successively attache of the Legation at Florence, Secretary of Embassy at Naples and at London, Charge d'Affaires in Tuscany. When the Revolution of 1830 broke out, he had just been named Minister Plenipotentiary to Greece.
Victor Hugo published his Odes et Ballades from 1822 to 1828. "La Vendee," "Les Vierges de Verdun," "Quiberon," "Louis XVII," "Le Retablissement de la Statue de Henri IV.," "La Mort du due de Berry," "La Naissance du duc de Bordeaux," "Les Funerailles de Louis XVIII.," "Le Sacre de Charles X.," are true royalist songs. Alexandre Dumas, FILS, in receiving M. Leconte de Lisle at the French Academy, recalled "the light of that little lamp, seen burning every night in the mansard of the Rue Dragon, at the window of the boy poet, poor, solitary, indefatigable, enamoured of the ideal, hungry for glory, of that little lamp, the silent and friendly confidant of his first works and his first hopes so miraculously realized." Who knows? without the support of the government of the Restoration the light of that little lamp might less easily have developed into the resplendent star that the author of La Dame aux Camelias indicated in the firmament.
The author of Meditations Poetiques and the author of the Odes et Ballades were sincere in the expression of their political and religious enthusiasm. These two lyric apostles of the throne and the altar, these two bards of the coronation, obeyed the double inspiration of their imagination and their conscience. Party spirit should not be too severe for a regime that suggested such admirable verses to the two greatest French poets of the nineteenth century—to Lamartine and to Victor Hugo.
Let us recall also that in Victor Hugo it was not only the royalist poet that Charles X. protected, it was also the chief of the romantic school; for the government, despite all the efforts of the classicists, caused Hernani to be represented at the Francais, a subsidized theatre. When the Academy pressed its complaint to the very throne to prevent the acceptance of the play, the King replied wittily that he claimed no right in the matter beyond his place in the parterre. The first representation of Hernani took place the 25th of February, 1830, and the author, decorated, pensioned, encouraged by Charles X., did not lose the royal favor, when, on the 9th of March following, he wrote in the preface of his work: "Romanticism, so often ill-defined, is nothing, taking it all in all—and this is its true definition, if only its militant side be regarded—but liberalism in literature. The principle of literary liberty, already understood by the thinking and reading world, is not less completely adopted by that immense crowd, eager for the pure emotions of art, that throngs the theatres of Paris every night. That lofty and puissant voice of the people, which is like that of God, writes that poetry henceforth shall have the same matter as politics! Toleration and liberty!"
The first representation of a work that was a great step forward for the romantic school, Henri III et sa Cour, by Alexandre Dumas, had already taken place at the Francais, February 11, 1829. The 30th of March, 1830, the Odeon gave Christine de Suede, by the same author.
In 1829, Alfred de Vigny had represented at the Francais his translation in verse of Othello. It was from 1824 to 1826 that the poet published his principal poems. It was in 1826 that his romance of Cinq-Mars appeared. Victor Hugo published Les Orientates in 1829; Alfred de Musset, Les Contes d'Espagne et d'Italie in 1830. It may be said then that before the Revolution of 1830, romanticism had reached its complete expansion.
Note, also, that the government of Charles X. always respected the independence of writers and artists, and never asked for eulogies in exchange for the pensions and encouragement it accorded them with generous delicacy. It named Michelet Maitre de Conferences at the Ecole Normale in 1826. It pensioned Casimir Delavigne, so well known for his liberal opinions, and Augustin Thierry, a writer of the Opposition, when that great historian, having lost his eyesight, was without resources. It ordered of Horace Vernet the portraits of the King, the Duke of Berry, and the Duke of Angouleme, as well as a picture representing a "Review by Charles X. at the Champ-de-Mars," and named the painter of the battles of the Revolution and the Empire director of the School of Rome.
From the point of view of painting as well as of letters, the Eestoration was a grand epoch. Official encouragement was not wanting to the painters. Gros and Gerard received the title of Baron. There may be seen to-day in one of the new halls of the French School at the Louvre, the pretty picture by Heim, which represents Charles X. distributing the prizes for the Exposition of 1824, where Le Vaeu de Louis XIII. by Ingres had figured, and where the talent of Paul Delaroche had been disclosed. In the Salon Carre of the Louvre, the King, in the uniform of general-in-chief of the National Guards, blue coat with plaits of silver, with the cordon of the Saint Esprit, and in high boots, himself hands the cross of the Legion of Honor to the decorated artists, among whom is seen Heim, the author of the picture.
Ingres, chief of the Classic School, and Delacroix, chief of the Romantic School, shone at the same time. In 1827, the first submitted to general admiration l'Apotheose d'Homere and Le Martyre de Saint Symphorien. The same year Delacroix, who had already given in 1824 Le Massacre de Scio, in 1826 La Mort du Doge Mariano Faliero, exhibited LE Christ au Jardin des Oliviers, acquired for the Church of Saint Paul; Justinien,—for the Council of State; and La Mort de Sardanapale.
When the Musee Charles X. (the Egyptian Museum) was opened at the Louvre, the government ordered the frescoes and ceilings from Gros, Gerard, Ingres, Schnetz, Abel de Pujol. M. Jules Mareschal says:—
"The right-royal munificence of Charles X. was not marked by niggardliness in the appreciation of works of art any more than in the appreciation of the works of science and letters. But, as is known, it is not by interest alone that the heart of the artist is gained and his zeal stimulated. They are far more sensitive to the esteem shown them, to the respect with which their art is surrounded, and to the taste manifested in the judgment of their productions. Now, who more than Louis XVIII. and Charles X. possessed the secret of awakening lively sympathy in the world of artists and men of letters? Who better than their worthy counsellor seconded them in the impulses of generous courtesy so common with them? Thus from this noble and gracious manner of treating men devoted to art and letters, which marked the royal administration of the Fine Arts under the Restoration, sprang an emulation and a good will which on all sides gave an impetus to genius, and brought forth the new talents."
In theatrical matters, the Viscount Sosthenes de La Rochefoucauld exercised a salutary influence. He loved artists, and wishing to raise their situation, moral and social, he deplored the excommunication that had been laid on the players.
Speaking of the stage, he wrote in a report addressed to Charles X., June 20,1825: "I perceive that I have forgotten the most essential side,—the moral, I will even say the religious side. What glory it would be for a king to raise this considerable class of society from the abject situation in which it is compelled to live! Sacrificed to our pleasures, it has been condemned to eternal death, and a king believes his conscience quiet! For a long time I have cherished this thought; we must begin by elevating these people, as regards their art, by reforming, little by little, the swarming abuses that awaken horror, and end by treating with Rome in order to obtain some just concessions that would have important results."
In another report to the King, dated October 21, 1826, M. de La Rochefoucauld wrote, apropos of the obsequies of Talma:—
"A profound regret for me is the manner of the great tragedian's death. Sire, would it not be worthy of the reign, the breast, the conscience of Charles X., to draw this class of artists from the cruel position in which they are left by that excommunication that weighs upon them without distinction? Whether they conduct themselves well or ill, the Church repels them; this reprobation holds them perforce in the sphere of evil and disorder, since they have no interest in rising above it. Honor them, and they will honor themselves. It is time to undertake the reform of what I call a pernicious prejudice. The clergy itself is not far from agreeing on these ideas."
In his relations with authors, artists, directors of theatres, the Viscount was courtesy itself. We read in one of his reports (June 17, 1825):—
"Rossini is the first composer of Europe; I have succeeded in attracting him to the service of France; he had before been tempted in vain. Jealous of his success, people have cried out that he was an idler, that he would do nothing. I secured him by the methods and in the interest of the King; I can do with him as I will, as with all the artists, though they are most difficult people. They must be taken through the heart. Rossini has just composed a really ravishing piece; and, touched by the manner in which he is treated, he wishes to present it to the King in token of his gratitude, and wishes to receive nothing. He is right, but the King cannot accept gratis so fine a present; I propose that the King grant him the cross of the Legion of Honor and announce it himself to him to-morrow—which would be an act full of grace. All favors must come always from the King."
Great tenacity was needed in the government of Charles X. to get the Chefs-d'Oeuvre of Rossini represented at the Opera. A little school of petty and backward ideas rushed, under pretext of patriotism, but really from jealousy, systematically to drive from the stage everything not French. For this coterie Rossini and Meyerbeer were suspects, intruders, who must be repulsed at any cost. The government had the good sense to take no account of this ridiculous opposition, which refused to recognize that art should be cosmopolitan. Before seeing his name on the bills of our first lyric stage, Rossini required no less than nine years of patience. All Europe applauded him, but at Paris he had to face the fire of pamphleteers rendered furious by his fame. The government finally forced the Opera to mount Le Siege de Corinthe. Its success was so striking that the evening of the first representation (October 9, 1826), the public made almost a riot for half an hour, because Rossini, called loudly by an enthusiastic crowd, refused to appear upon the stage.
The maestro gave at the Opera Moise, March 26, 1826; Le Comte Ory, August 20, 1828; Guillaume Tell, August 20, 1829. (At this time the first representations of the most important works took place in midsummer.) The evening of the first night of Guillaume Tell, the orchestra went, after the opera, to give a serenade under the windows of the composer, who occupied the house on the Boulevard Montmartre, through which the Passage Jouffroy has since been cut. The 10th of February, 1868, on the occasion of the hundredth representation of the same work, there was a repetition of the serenade of 1829. The master then lived in the Rue Chaussee d'Antin, No. 2. Under his windows the orchestra and chorus of the opera commenced the concert about half an hour after midnight, by the light of torches, and Faure sang the solos.
The government which secured the representation of Guillaume Tell was not afraid of the words "independence" and "liberty." A year and a half before, the 20th of February, 1828, there had been given at the Opera the chef-d'oeuvre of Auber, La Muette de Portici, and the Duchess of Berry, a Neapolitan princess, had applauded the Naples Revolution put into music.
The government of Charles X. protected Meyerbeer as well as Rossini. Robert le Diable was only played under the reign of Louis Philippe, but the work had already been received under the Restoration.
During the reign of Charles X. the fine royal theatres reached the height of their splendor: the Francais and the Odeon were installed in their present quarters; the Opera in the hall of the Rue La Peletier, excellent as to acoustics and proportions; the Italiens in the Salle Favart (where they remained from 1825 to 1838); the Opera Comique in the Salle Feydeau, until the month of April, 1829, when it inaugurated the Salle Ventadour. Talma, Mademoiselle Duchesnoir, Mademoiselle Mars, triumphed at the Francais; Mademoiselle Georges, at the Odeon; Nourrit, Levasseur, Madame Damoreau, Taglioni, at the Opera; Sontag, Pasta, Malibran, and Rubini at the Italiens.
The Viscount de la Rochefoucauld wished in every way to raise the moral level of the theatre. He forbade subscribers, even the most influential, the entree behind the scenes of the Opera, because these persons had not always preserved there the desirable decorum. Thence arose rancor and spite, against which he had to contend during his entire administration. He wrote to the King, July 29, 1828:—
"A cabal is formed to deprive me of the direction of the theatres; and by whom and for what? It is a struggle, Sire, between good and evil. It is sought to maintain, at any cost, the abuses I have dared to reform. They throw a thousand unjust obstacles in my way. Gamblers are mixed up in it too; they wish to join this ignoble industry and the theatres. It is a monstrous infamy. The opera must be reached at all hazards, the coulisses must be entered; these are the abuses that must be revived. How can it be done? By removing the theatres from troublesome authority ... Sire, Your Majesty shall decide, and must defend me with a firm will in the interest, I venture to declare, of order; you must defend yourself also in the interest of morals and of art, and of a great influence of which it is sought to deprive you."
M. de La Rochefoucauld had the last word, and remained at the head of the direction of the Fine Arts until the close of the Restoration. To the credit of his administration there must still be added the creation of the school of religious music, directed by Choron, and the foundation of the concerts of the conservatory with Habeneck, and a little against the wishes of Cherubini. The chefs-d'oeuvre of German music were brought out as well as those of Italian music. The Viscount performed his task con amore, as they say on the other side of the Alps. He wrote to Charles X. January 12, 1830:—
"How many reflections must have come to the King on regarding the picture of the Coronation! I divined the thought that he did not complete, and my eyes filled with tears. Oh, how much I feel and imagine all the ennui given to the King by these barren and unfortunate politics! I detest them more even than the King detests them. Ungrateful offspring of the times, they fly away, rarely leaving even a memory. How much I prefer the arts!"
This was also the feeling of the Duchess of Berry, who, during all the Restoration, fled from surly politics to live in the region, radiant and sacred, of art and charity. The taste of this Italian lady for painting and music was a veritable passion. She was forever to be found in the museums, the expositions, the theatres. She caught the melodies by heart and was always interested in new works. An expert, a dilletante, was no better judge of pictures and operas; the great artists who shone in the reign of Charles X. received from the amiable Princess the most precious encouragements. Nor did she forget to encourage the efforts of beginners. "Who, then," she said, "would buy the works of these poor young people, if I did not?"