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were seen, owing to the narrowness of the space between | the exterior columns and the cella, may also be mentioned in considering the reasons which rendered projection unadvisable. That this confined view was not, however, the sole reason, may appear from the bold relief of the Phigaleian marbles, which, in the interior of the narrow cella of the temple they adorned, must have been seen, on the side walls, at a very inconsiderable distance compared with their height. The Phigaleian temple was built, according to Pausanias, by Ictinus, the chief architect of the Parthenon; and although the sculptures are inferior, as works of art, to the generality of Greek specimens, their style of relief is precisely the point where the architect may be supposed to have influenced their execution.

ficial light, especially if in a lateral direction, necessarily throws the shadows of one figure on another. Instances of this occur in some of the palaces in Rome where works of sculpture have been injudiciously placed. A room, for example, lighted in the ordinary way will have its walls (at right angles with that occupied by the windows) adorned with a frieze in considerable relief; the figures nearest the light consequently project their shadows so as to half conceal the next in order.

The conditions of proximity and distance, as well as the quantity and direction of light, were carefully attended to by the Greek sculptors, and suggested new varieties of relief. The end of the art, as far as relates to execution, is accomplished when the work is distinct and intelligible at the As projection commands shade, so flatness commands distance whence it is intended to be viewed. Hence the light, and the flattest relief is hence fittest for an invari- conventions which are intended to correct the defects of ably dark situation. The same principle is observable in distance, of material, want of light, &c., are evidently un architecture in the treatment of mouldings in interiors, necessary where the work admits of close inspection. The the form and projection of which differ materially from the style of mezzo rilievo, which in its boldest examples precorresponding members in the open light, and which are sents about half the thickness of the figure, is, on many intended to be seen at a distance. The flatness which in- accounts, least fit for a distant effect: the figure is nowhere sures light would, however, be altogether indistinct and detached from its ground; at a very little distance its shaformless unless the outlines were clear and conspicuous dowed side is lost in its cast shade, and its light side in the at the first glance. The contrivance by which this is effected light of its ground; the outline, in short, soon becomes inis by abruptly sinking the edges of the forms to the distinct; but the semi-roundness of the forms is directly plane on which they are raised, instead of gradually round-imitative, and thus again the absence of all conventional ing and losing them. The mass of the relieved figure treatment fits the work for near situations. The style was being sometimes very little raised in its general surface, preferred to alto-rilievo in such cases, as the latter would its section would thus almost present a rectangular pro- have been more liable to accidents, and would besides in jection. In many instances the side of this projection some measure deform the outline or profile of any object is even less than rectangular; it is undercut, like some which is circular in its plan. The figures which adorn mouldings in architecture which require to be particularly sculptured vases are thus in mezzo-rilievo: these works prodistinct, and thus presents a deeper line of shade. But bably ornamented interiors where any indistinctness in their if the figure can thus command distinctness of outline, not- distant effect or in an unfavourable light might be obviated withstanding the inconsiderable light it may receive, it by closer inspection. Two specimens may be seen in the is obvious that its lowness or flatness of relief will in such second room of the Gallery of Antiquities in the British Mua light greatly aid its distinctness: above all, this contri- seum. The celebrated Medicean and Borghesan vases, the vance gives the work thus seen in an obscure situation the finest known examples, are in like manner ornamented with effect of rotundity. Indeed, it is a great mistake to suppose mezzo-rilievo. The same consideration applies to all works, that the flat style of relief was intended to appear flat, and however unfit for a distant effect, which can, or in their oriit is a great mistake to apply it in situations, as in the open ginal situation could, only be seen near. Even the mixed air, where it must appear so, and be indistinct besides. The style of relief in the sculptures which occupy the internal conventions of the arts are remedies, adopted in certain sides of the Arch of Titus at Rome, would hardly be objected situations and under particular circumstances, and are sup- to, since the objects represented are distinctly seen, and can posed to be concealed in their results: their ultimate resem- only be seen, at the distance of a few feet. The style of blance to nature, and their successful effect in those circum- semi-relief (much purer than that of the Arch of Titus) stances, are the test of their propriety and necessity. The adopted by Flaxman in front of Covent Garden Theatre may absence of all convention in alto-rilievo (as opposed to the be defended on the same principle, since the utmost width of flat style), thus fits it for near situations, if not too near to the street is hardly a more distant point than a spectator expose it to accidents. The excellent sculptures which de- would naturally retire to in order to see them conveniently. corate the pronaos and posticum of the Temple of Theseus, The still flatter style which has been introduced on the exalthough under the portico, are in bold relief. They were terior of several buildings in London cannot, however, be denot only nearer the eye, and seen at a more convenient fended on any grounds; and there can be no doubt, from the angle than the flat rilievi of the cella of the Parthenon, reasons adduced, that bold relief is generally fittest for the but the reflected light which displayed them would neces- open light. The mezzi rilievi on the miniature choragic sarily be much stronger. monument of Lysicrates (casts from them are in the British Museum) may be admitted to have been fitly calculated for their situation because they must have been seen near; but there was in this case an additional consideration to be attended to; the building is circular, and alto-rilievo was avoided in order to preserve the architectural profile: on the other hand, the frieze of the small temple of Victory, which was rectangular, was adorned with alti-rilievi; and in this case it appears that they did not even extend to the angles. The objections to sculpture on monumental columns will be obvious from these considerations; it has been observed, that in attempting to preserve the architectural profile, as in the Trajan column, and its modern rival in the Place Vendôme at Paris, the sculpture thus slightly relieved soon becomes indistinct, nor indeed would this indistinctness be obviated at a considerable height even by alto-rilievo, the figures being necessarily small, while the evil is only increased by substituting the dark material of bronze for marble.

Lateral portico of the
Parthenon.

End portico of the Temple
of Theseus.

It is also to be remembered that only the end porticoes, where the sculpture could be more conveniently seen and was better lighted, were decorated with rilievi; the side walls of the cella were unornamented, and undoubtedly bold relief would have been less adapted for them. The Temple of Theseus was built about thirty years before the Parthenon; and it is not impossible that the satisfactory effect of the flat rilievi on the cella of the latter might have suggested a similar treatment, or some modification of it, in the Temple of Theseus, had it been erected later. It may be observed in general, that alto-rilievo can seldom be fit for interiors, not only from its liability to accident, but from the difficulty of displaying it by the full light which it requires. A super

We proceed to consider the varieties of style in this art as affecting composition. In rilievo, and in sculpture generally (a colourless material, or a material of only one colour being always supposed), it is evident that shadow is the essential and only source of meaning and effect. In works placed in the open air, and visible in one point only, as in the case of alto-rilievo, a certain open display of the figure is generally adopted; the shadows, or rather the forms which project them, are so disposed as to present at the first glance an

intelligible and easily recognised appearance, and the impossibility of changing the point of view, or changing the light, as before observed, limits the attitudes more than in a statue, and, as will also appear, more than in a basso-rilievo. For in the latter, however distinct the outline is in which the chief impression and meaning of the figure reside, the shadows within the extreme outlines are in a great measure suppressed; it is, in fact, by their being so suppressed that the general form becomes so distinct. This is also the case when one form is relieved on another; it will be seen that the nearest object is very much reduced and flattened in order that its shadow may not interfere with the more important shadows of the outlines on the ground, and hence it may often happen that the nearest projection is least relieved.

It will thus be evident that, owing to this

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power of suppressing the accidental shades and preventing them from rivalling or being confounded with the essential ones, the choice of attitudes becomes less limited, and many a composition which in full relief would present a mass of confusion from its scattered and equally dark shades, may be quite admissible and agreeable in basso-rilievo. Accordingly the attitudes of statues, which are generally unfit for alto-rilievo, frequently occur in the flat style. Visconti even supposes that certain figures in the bassirilievi of the Parthenon suggested the attitudes of celebrated statues afterwards executed; as, for instance, the Jason, or Cincinnatus, and the Ludovisi Mars. As a remarkable proof how much the attitudes were limited in altorilievo compared with the flat style, it may be observed, that the contrasted action of the upper and lower limbs, which gives so much energy and motion to the figure, is perhaps never to be met with in the fine examples of alto-rilievo, whereas in the flat style it is adopted whenever the subject demands it. In the annexed sketch of an early Greek basso-rilievo, representing Castor managing a horse (from the third room of the gallery of the British Museum), the action of the upper and lower limbs is contrasted, as is the case in all statues which are remarkable for energy and elasticity of movement: the statue called the Fighting Gladiator may be quoted as a prominent example. This disposition of the lower limbs, or the alternate action in which one of the arms would cross the body, never occurs in altorilievo, because the shadow of the arm on the body or of one of the lower limbs on the other could then no longer be suppressed, as it is in this case, but would rival the shadows of the whole figure on the ground. Among the metopes of the Parthenon, the Phigaleian marbles, and the altirilievi of the Temple of Theseus, there is not a single instance of the contrasted action alluded to; while in the two latter examples, the contrary position, or open display of the figure, repeatedly recurs, even to sameness. It must however

be admitted, that this open display of the figure, although not presenting the most energetic action, is as beautiful as it is intelligible, and hence the finest exhibitions of form were quite compatible with the limited attitudes to which the sculptors thus wisely confined themselves. The objections which compelled this limitation being however entirely obviated in basso-rilievo, by the power of suppressing at pleasure the shadows within the contour, we find the fullest advantage taken of the latitude which was thus legitimately gained.

A better example cannot be referred to than the flat rilievi already mentioned from the cella of the Parthenon. (See the next illustration.) The subject represents the Panathenaic procession, and although no perspective diminution is admitted, several equestrian figures are sometimes partly relieved one upon the other. The confusion which results from the number of similar forms in the repetition of the horses' limbs, as well as in the actions of the horsemen, must be admitted; but perhaps the subject is thus better expressed than by a simpler arrangement, and this treatment contrasts finely with the single figures. In a procession of horsemen moving two or three abreast, we are at once aware that the figures are similar, and the eye is satisfied, as it would be in nature, not in searching out each individual figure as if it had a separate principle of action, but in comprehending the movement and the mass, for one indicates the whole. Where the figures thus cross each other they are treated as a mass; the outline of the whole group is distinct and bold, being more or less abruptly sunk to the ground, but the outlines which come within the extreme outline are very slightly relieved. In short, the principle here applied is precisely the same as that observable in a single figure in the same style of relief: the outline of the whole form is distinct, or rather most distinct where it is most important, and the internal markings are seldom suffered to rival it, but are made subservient to this general effect. The relative importance of the objects is, indeed, the only consideration which is suffered to interfere with this principle: thus loose drapery is sometimes slightly relieved on the ground, while a significant form is now and then strongly relieved even on another figure. In comparing the slight varieties of treatment in these rilievi, it is to be remembered that the end porticoes were a little wider than the lateral colonnades. It is undoubtedly to this circumstance that the difference of treatment alluded to is to be referred; the figures in the end friezes are more sepa rated from one another, and consequently somewhat more relieved than the compact processions on the side walls.

The fact that these bassi-rilievi, as well as most of the sculpture of the antients, were partially painted, has been purposely left out of the account, because the very contrivances resorted to are calculated to supply the absence of colour. The custom in the best age of Grecian art of painting architecture and sculpture may be defended or excused elsewhere; it may be, however, here remarked, that while the antient sculptors added colour after having employed every expedient which could supply its want, the moderns, in altogether rejecting it, often fail to make use of those very conventions which its absence demands.

It appears that the principle of suppressing the relief within the extreme contour which, with the strong marking of the outline itself, mainly constitutes the style of bassorilievo, was employed by the antients in works of considerable relief, in interiors, in particular lights, and probablv

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at some distance or elevation. The real projection which, works thus strictly belonging to the class of bassi-rilievi may sometimes present, points out the essential difference between basso and mezzo rilievo: a work, even if in very slight general relief, which has the parts that are nearest the most relieved, belongs to mezzo-rilievo; while a work which has the nearest parts least relieved, constitutes bassorilievo, whatever its general projection may be. In the former, the outline is thus less apparent than the forms within it; in the latter, the outline is more apparent than the forms within it. The early Greek and Etruscan rilievi, which, however flat, have the nearest parts the fullest, while the outline is scarcely, if at all, rectangular in its section, have thus the principle of mezzo-rilievo. They are even fitted for near inspection, and cannot be said to present any unsatisfactory convention; for the bulk, however really thin, is proportionate in its relief, and is so far directly imitative; inasmuch as the eye consents to a diminished scale of bulk as easily as to a diminished scale of height, while the indistinctness of the outline has the effect of rounding the form. Such works are besides fitted for near examination, because they can scarcely command any shadow. Various specimens may be seen in the British Museum.

The antique vases of Arezzo were ornamented with figures in this kind of relief. Certain silver vases mentioned by Pliny were of the same description. The Egyptian intaglio, for so it may be called, rather than rilievo, belongs to the same style. The Egyptian artists, instead of cutting away the background from the figure, sunk the outline, and slightly rounded the figure, on the principle of mezzo-rilievo, within. Thus no part of the work projected beyond the general surface, and the architectural profile was preserved. There are, however, many very antient examples at Thebes of figures slightly relieved from the ground, somewhat on the principle of basso-rilievo as practised by the Greeks, that is, with the nearest parts least relieved, and with outlines rectangular in the section. Many of them, probably, in their original situations, and when the buildings were entire, ornamented interiors. Some Persian rilievi, in the British Museum, approach the same style. The Egyptian rilievi were painted in brilliant colours, and would have been ineffective in the open light without such an addition.

The distinctions of the three styles of relief, according to the Greek examples, may now be thus recapitulated. In the aighest relief, however decided the shadows may and must

of necessity be, on the plane to which the figure is attached the light on the figure itself is kept as unbroken as possible, and this can only be effected by a selection of open attitudes; that is, such an arrangement of the limbs as shali not cast shadows on the figure itself. In basso-rilievo the same general effect of the figure is given, but by very different means: the attitude is not selected to avoid shadows on the figure, because, while the extreme outline is strongly marked, the shadows within it may be in a great measure suppressed, so that the choice of attitudes is greater. Mezzorilievo differs from both: it has neither the limited attitudes of the first, nor the distinct outline and suppressed internal markings of the second: on the contrary, the outline is often less distinct than the forms within it, and hence it requires, and is fitted for, near inspection. Its imitation may thus be more absolute, and its execution more finished, than those of either of the other styles.

Most of the coins of antiquity are executed on the principle of mezzo-rilievo; and though often far bolder in this relief than modern works of the kind, are treated in a mode corresponding with their minute dimensions, which require close examination. The outline thus gradually rounds into the ground, and is never abruptly sunk, while the nearest parts are most relieved. Thus, conventional methods are always wanting in works that admit of close inspection, where the eye can be satisfied without such expedients. The comparatively strong relief of the heads on the antient medals is again a contrivance for their preservation, and presents a new variety in the style of rilievo. Coins are exposed to friction, and the forms they bear are thus liable to be soon effaced. The earliest means adopted to prevent this was by sinking the representation in a concavity, in which it was thus protected. This plan was soon abandoned, for obvious reasons; and the method ultimately adopted was that of raising the least important parts most. Accordingly, the parts that are rubbed away in many fine antique coins are precisely those which can best be spared; the hair has generally a considerable projection, so that the face and profile are often perfectly preserved after 2000 years: a better specimen cannot be adduced than the celebrated Syracusan coin representing the head of Arethusa or Proserpine. In addition to the propriety of its style, this head is remarkable for its beauty; and is classed by Winkelmann among the examples of the highest character of form.

The ordinary style of mezzo-rilievo was also used for gems, | Various degrees of relief, background figures and objects and indeed for all works in this branch of sculpture which and occasional attempts at perspective, are to be found required close inspection, and needed no conventional con- in the works of the Pisani and their scholars, yet their trivance. A flat style of relief, which is sometimes observ- works, which are to be regarded as the infancy of Italian able in cameos, was adopted only for the sake of displaying a art, and which undoubtedly are rude enough in worksubject on a different coloured ground; the layers of colour manship and imitation, are purer in style than those of in the stone employed, generally the sardonyx, being very the succeeding Florentine masters, who attained so much thin. The difference of colour in the ground has, however, general perfection in sculpture. The rilievi of Donatello the effect of giving roundness to the figures relieved on it, are mostly in the style called by the Italians stiacciato, as if, their whole effect becoming apparent, the internal the flattest kind of mezzo-rilievo, according to the definition markings disappeared. The figures on the Portland Vase before given, which he probably adopted, as he worked in are treated on this principle; and as it was intended to bronze, from the facility of casting; yet in such a style, imitate a precious stone (for which indeed it was at first commanding little distinctness from its inconsiderable protaken), the thinness of the outer layer of colour is also jection, he introduced buildings, landscape, and the usual imitated. Such works, however, reduced to one colour in accessories of a picture. But this misapplication of ingea cast or copy, are totally wanting in effect and style. The nuity was carried still farther by Lorenzo Ghiberti, in the impressions from intagli, or engraved gems, which were used celebrated bronze doors of the baptistery, or church of San for seals, are never in the flat style of relief; but however Giovanni, at Florence, which exhibited such skilful comslightly raised, are on the principle of mezzo-rilievo as above positions, in which the stories are so well told, and in which defined. The gems of Dioscorides, the finest of antiquity, the single figures are so full of appropriate action. In these are in mezzo-rilievo, and often of the fullest kind; as for works the figures gradually emerge from the stiacciato instance, the heads of Demosthenes and Io, and the figures style to alto-rilievo. They are among the best specimens of of Mercury and Perseus. The same may be observed of that mixed style, or union of basso-rilievo with the prinother celebrated gems, such as the Medusa of Solon, the ciples of painting, which the sculptors of the fifteenth cenHercules of Cneius, &c. It is supposed that the same tury and their imitators imagined to be an improvement on artists who engraved on gems, and who frequently inscribed the well-considered simplicity of the antients. In these and their names, also executed the dies for coins. The latter similar specimens the unreal forms of perspective buildings, are among the finest antique works of art; but of the many and diminished or foreshortened figures, which in pictures thousand existing specimens there is but one which bears create illusion when aided by appropriate light and shade, the name of the artist, viz., the coin of Cydonia in Crete, the and variety of hue, are unintelligible or distorted in a real inscription on which proves it to be the work of Nevantus. material, where it is immediately evident that the objects It was observed, that in the antique coins the least important are all on the same solid plane. Even Vasari, who wrote parts are the most raised, and the reasons which dictated when this mixed style of rilievo was generally practised, this practice limited the view of the head to the profile; remarks the absurdity of representing the plane on which but as the same reasons were no longer applicable in en- the figures stand ascending towards the horizon, according graved gems, the impressions from which could be renewed to the laws of perspective; in consequence of which we at pleasure, the front, or nearly front view of the head was often see,' he says, 'the point of the foot of a figure, occasionally attempted, and seems to have been preferred by standing with its back to the spectator, touching the middle Dioscorides and his school. The head of Io before men- of the leg, owing to the rapid ascent or foreshortening of tioned, considered with reference to this specific propriety the ground. Such errors, he adds, are to be seen even of its style, as well as with regard to its general merits, is in the doors of San Giovanni. Lorenzo Ghiberti, like other placed by Visconti in the first class of antique engraved Florentine sculptors, first learnt the practice of his art from gems. Thus the most skilful artists of antiquity seemed a goldsmith, and the designs of the artists who competed to consider the style of any one of the arts to consist chiefly with him for the honour of executing the doors of San Gio in those points which were unattainable by its rivals. It vanni were submitted to the judgment of goldsmiths and may be here observed too, that they generally limited their painters as well as sculptors. representation to the most worthy object, viz., the human figure, when the dimensions on which they were employed were necessarily confined. Indeed the principles of imitation itself were, as it were, condensed, and true character often exaggerated as the materials appeared less promising; so that the genius of antient art is as conspicuous in minute engraved gems as in colossal sculpture.

Mezzo-rilievo of the fullest kind was also fitly employed (as well as alto-rilievo, when in situations not exposed to accidents) to ornament tombs and sarcophagi. These works, placed in the open air, decorated the approaches to cities, as the sepulchres were always without the walls. The Appian Way was the most magnificent of these streets of tombs in the neighbourhood of Rome, and must have exhibited, literally, thousands of sepulchral monuments. Though generally the work of Greek artists, and often interesting from being copies of better works now lost, the haste and inattention with which such prodigious numbers were executed, tended to degrade the style of their sculpture. In these rilievi, even in the better specimens, buildings and other objects are occasionally introduced behind the figures, thus approaching the spurious style of relief in which the effects of perspective are attempted to be expressed a great variety, of various degrees of excellence, are to be seen in the British Museum. The greater part of what are called Roman bassi-rilievi are of this kind, and may be considered a middle style between the pure Greek rilievo and the modern Italian. It was from antique sarcophagi, fine in execution, but with these defects in style, that Niccola da Pisa, in the 13th century, first caught the spirit of antient art. Many of the works from which he is believed to have studied are still preserved in Pisa. D'Agincourt gives a representation of one of the best. In imitating the simplicity of arrangement, and, in a remote degree, the purity of forms which these works exhibited, the artist was not likely to correct the defects alluded to which had been already practised in Italy and elsewhere.

The taste of the Florentines in basso-rilievo was thus greatly influenced by the prevalence of a style most applicable to the precious metals, in which a general sparkling effect is best insured by avoiding uniformly violent relief, which projects considerable shadows, and especially by avoiding unbroken flatness. The background is thus filled with slightly relieved distant objects, so as to produce everywhere a more or less roughened or undulating surface The same end seems to have been attained in the antique silver vases, by the introduction of foliage. The style continued to be practised with occasionally greater absurdities than those before alluded to, and perhaps less redeeming excellence, till the close of the last century. The sculptor Falconet says of the antique bassi-rilievi, that 'however noble their composition may be, it does not in any way tend to the illusion of a picture, and a basso-rilievo ought always to aim at this illusion. He leaves no doubt as to the literal meaning he intends by citing the Italian writers who applied the term quadro indiscriminately to picture and basso-rilievo. Sculpture in this country was indebted principally to Flaxman for the revival of a purer taste in the application of basso-rilievo to architecture. In works of decoration, intended to be executed in the precious metals, in which, as before observed, moderately embossed and general richness of surface is so desirable, in order to display the material as well as the work, he, however, united his own purity of taste and composition with an approach to the mixed style of relief practised by the Florentine masters, who, in this branch of sculpture, perhaps never equalled his shield of Achilles.

BASSOMPIERRE, FRANÇOIS DE, Marshal of France, and Captain-General of the Swiss Guards, was born in Lorraine, on the 12th of February, 1579. The family name was originally Betstein, or, as Mr. Croker conjectures, Bassenstein-gallicised into Bassompierre. His education was, all things considered, excellent for the times in which he lived: it reminds us, in many particulars, of Montaigne's education, which that amusing writer has

described in his Essays, being, like it, domestic, conducted in a feudal castle in a remote district, and embracing a much greater range of subjects than is comprehended in our modern courses of study. Bassompierre tells us, for example, in his memoirs, among other particulars of his studies, that in his seventeenth year he devoted one hour a day singly to the study of law, of casuistry, of Hippocrates, the ethics and politics of Aristotle, and that, like our own Lord Herbert of Cherbury, whom he resembled in his admiration of the usages of chivalry, he prided himself on his early proficiency in martial exercises, particularly 'riding the great horse.'

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In 1598 Bassompierre arrived, in the course of his travels, at Paris, having first visited Italy and Germany, His reception at the court of France was flattering beyond example. His family was of the highest order of nobility: his father had commanded a regiment of cavalry, called reiters (riders), under the French king, Henry IV., and, like his master, had been wounded at the battle of Ivry; and Bassompierre's person and address were those of a knight of romance. Bassompierre was first introduced to the French king's notice in a ballet, which some young courtiers had got up to amuse Henry on his recovering from an illness, in which the illness, and still more the mode of cure, were held up to laughter. Bassompierre took a part in the ballet, and quickly caught the attention of Henry. The result was a warm friendship on both sides; and Bassompierre became for life a devoted Frenchman.

The incidents of Bassompierre's career are only interesting to the general reader so far as they illustrate the manners of the times. Bassompierre was young, ardent, and accomplished, and distinguished for his personal beauty and courage; and the court of France was at that time one scene of gaiety, intrigue, and licentiousness. His career may accordingly be briefly described as that of a 'chartered libertine,' who united the wily arts of the courtier with the intrepidity of a soldier. In many respects the court of Henry resembled that of Charles II. of England. It is but justice, however, to the French king to state, that unbridled as he was himself in the indulgence of his amorous propensities, and baneful as was the effect of such an example upon the morals of his court, the general features of its profligacy were less sordid and disgusting than those which disgrace the history of the English court during the times which followed the Restoration.

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In 1609 Bassompierre was on the point of being married to the most beautiful woman in France, the daughter of the Constable de Montmorency. He was preferred among a host of suitors by Mademoiselle de Montmorency herself, and had obtained the consent of her father and the king, who had not then seen the lady. In a few days afterwards Henry saw her, and, though then fifty-seven years of age, became madly and desperately in love with her himself. After a sleepless night the king sent for Bassompierre to attend him in his cabinet. I was thinking, Bassompierre,' said he, that the best thing you can do is to marry the Duchess of Aumale and revive the dukedom in your own person. What, sire, would your Majesty have me marry two wives?' was the answer. The truth is, my friend, said Henry, I am myself desperately, madly in love with Mademoiselle de Montmorency, and should hate you if you obtained her heart, while you would be sure to hate me if she fixed her affections on me. Now, I have too great a regard for you to risk our friendship by your union with her, and therefore I think it better to give her in marriage to my nephew the Prince of Condé, who is young and a hundred times fonder of the chace than of the ladies. This union will be the solace of the old age upon which I am just entering, and I shall seek no thanks from her but her affection. I assure you I seek no more.' (Mémoires, tom. i. p. 224.) Bassompierre knew that it was useless to refuse his consent to this proposition, and he was too prudent a courtier to incur the loss of the king's friendship.

Bassompierre served in all the civil wars, mostly of a religious character, in which France was engaged in his time, and rose through successive steps to the highest military honours, having been appointed by Henry captain-general of the Swiss Guards, a high court appointment, and promoted to the rank of marshal in the next reign. He does not seem to have possessed much military talent, and was distinguished in the camp chiefly by his playful humour and courage. He assisted at the siege of Rochelle, under the eye of Cardinal Richelieu, and is reported to have said on

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that occasion, We shall be fools enough to take the place for the cardinal,' meaning that the capture of that last fortress of the Huguenots would so strengthen the hands of Richelieu as to place the party of the queen-mother and the Guises at his mercy; and the result proved that Bassompierre was right.

Bassompierre stood so high in the favour of the indolent monarch, Louis XIII., as to convert the favourite Luynes into a fierce enemy. After some coqueting and countermining on both sides, Luynes succeeded in inducing Louis to give Bassompierre a cold reception at court. Bassompierre sought an explanation with the favourite. Luynes told him frankly that he was jealous of his influence with the king: that he (Bassompierre) must see, from the reception he had met with, that he had now a superior in influence, and therefore he must make up his mind to take a military appoint. ment at a distance, an embassy, or be forbidden from the presence. Bassompierre accepted the offer of an embassy, and Luynes declared himself his devoted friend. He was accordingly sent ambassador extraordinary to Spain, and afterwards to the Swiss, in the years 1624 and 1625. The particulars of these embassies are detailed in his Ambassades and his Mémoires, but do not possess general interest. In 1626 he was sent to England, at the instance of the Cardinal Richelieu, in order to enforce the observance of the treaty of marriage between Henrietta Maria and Charles I., so far as it applied to the toleration of the Roman Catholic worship. The circumstances which gave rise to this embassy are explained by the following letter:

'Steenie [Buckingham],-I have receaved your letter by Dic Greame, this is my answer. I command you to send all the French away tomorrow out of the toune if you can by faire meanes (but stike not long in disputing), otherwise force them away, dryving them away lyke so manie wylde beastes untill ye have shipped them, and so to the Devill go with them. Let me heare no answer bot of the performance of my command. So I rest, 'Your faithfull, constant, loving friend, 'August 7th. 1626.' 'CHARLES REX. (Ellis's Original Letters, first series, vol. iii. p. 244.) This violent dismissal of the queen's household was resented as an affront by the king of France, her brother, and Bassompierre was despatched as ambassador extraordinary to seek an explanation. Charles refused to give him an audience till he had dismissed Father Sancy (concerning whom see D'Israeli's Commentaries on the Reign of Charles I., vol. i.), who had come over in his train. Bassompierre firmly refused, and stood upon his privileges as an ambassador. The king was placed in an awkward dilemma, dreading, in particular, a scene with his wife,' should he admit Bassompierre to a public audience. Buckingham explained to Bassompierre the difficulties of his master's situation, and threw himself upon the Frenchman's good nature to extricate him from them. Bassompierre accordingly suggested that the king,‘after allowing me to make my bow, and having received with the king's letter my first compliments, when I should commence to open to him the occasion of my coming, the king may interrupt me and say, "Sir you are come from London (to Hampton); you have to return thither; it is late, and this matter requires a longer time than I can now give you. I shall send for you at an earlier hour," &c., &c., and after some civil expressions about the king, my brother-in-law, and the queen, my mother-in-law, the king will add, "I can no longer delay the impatience of the queen, my wife, to hear of them from yourself," &c. Charles had the meanness to go through this humiliating ceremonial to the letter. A few days afterwards he admitted Bassompierre to a private audience, in which he gave vent to his angry feelings. Bassompierre replied with equal warmth, and taunted Charles with a breach of the treaty of marriage. Charles, whose pride refused to plead the real cause, the necessity of yielding to the religious prejudices of his parliament, contended that the treaty was one of state and not of religion. Angry threats and recriminations followed, which induced Charles to exclaim, 'Why then do you not declare war at once?' With great firmness and dignity Bassompierre replied, I am not a herald to declare war, but a marshal of France, to make it when declared.'

The remainder of Bassompierre's career is soon told. He attached himself warmly to the interests of the house of Guise, and the queen-mother Mary de Medicis, who was the great obstacle to Richelieu's attaining absolute power, and he paid the penalty of his adhesion. The imine

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