Voltaire dedicated his _Tancrede_ to her; in fact, his influence and favor were so great that he was about to receive an invitation to the _pet.i.ts soupers_ of the king, when the n.o.bility rose up in arms against him, and, as Louis XV. disliked him, the coveted honor was never attained. To Crebillon, who had given her elocution lessons in her early days and who was now in want, she gave a pension of a hundred louis and quarters at the Louvre. Buffon, Montesquieu, Marmontel, and many other men of note were taken under her protection.

It was Mme. de Pompadour who founded, supported, and encouraged a national china factory; the French owe Sevres to her, for its artists were complimented and inspired by her inveterate zeal, her persistency, her courage, and were a.s.sisted by her money. She brought it into favor, established exhibits, sold and eulogized the ware herself, until it became a favorite. Also, through her management and zeal the Military School was founded.

The disasters of the Seven Years' War are all charged to Mme. de Pompadour. The motive which caused her to decide in favor of an alliance with Austria against Frederick the Great was a personal desire for revenge; the latter monarch had dubbed her "Cotillon IV,"

and had rather scorned her, refusing to have anything to do with a Mlle. de Poisson, "especially as she is arrogant and lacks the respect due to crowned heads." The flattering propositions of the Austrian amba.s.sador, Kaunitz, who treated with her in person and won her over, did much to set her against Germany, and induced her to influence Louis XV. to accept her view of the situation--a scheme in which she was victorious over all the ministers; the result was the Austrian alliance. The letter of Kaunitz to her, in 1756, will ill.u.s.trate her position:

"Everything done, Madame, between the two courts, is absolutely due to your zeal and wisdom. I feel it and cannot refuse myself the satisfaction of telling you and of thanking you for having been my guide up to the present time. I must not even keep you ignorant of the fact that their Imperial Majesties give you the full justice due you and have for you all the sentiments you can desire. What has been done must merit, it seems to me, the approbation of the impartial public and of posterity. But what remains to be done is too great and too worthy of you for you to give up the task of contributing and to leave imperfect a work which cannot fail to make you forever dear to your country. I am, therefore, persuaded that you will continue your attention to an object so important. In this case, I look upon success as certain and I already share, in advance, the glory and satisfaction which must come to you, no one being able to be more sincerely and respectfully attached to you than is your very humble and obedient servant, the Count de Kaunitz-Rietberg."

She received her first check when, Damiens having attempted to a.s.sa.s.sinate the king, the dauphin was regent for eleven days. She was confined to her room and heard nothing from the king, who was in the hands of the clergy. Among the friends who abandoned her was her protege Machault, the guard of the seals, who conspired with D'Argenson to deprive her of her power and went so far as to order her departure. After the king's recovery, both D'Argenson and Machault were dismissed and Mme. de Pompadour became more powerful than before.

Her influence and usurpation of power bore heavily upon every department of state; she appointed all the ministers, made all nominations, managed the foreign policy and politics, directed the army and even arranged the plans of battle. Absolute mistress of the ministry, she satisfied all demands of the Austrian court, a move which brought her the most flattering letter from Kaunitz, in which he gives her the credit for all the transactions between the two courts.

Despite all her political duties and intrigues, she found time for art and literature. Not one minute of the day was lost in idleness, every moment being occupied with interviews with artists and men of letters, with the furnishers of her numerous chateaux, architects, designers, engineers, to whom she confided her plans for embellishing Paris.

Being herself an accomplished artist, she was able to win the respect and attention of these men. Her correspondence was immense and of every nature, political and personal. She was an incessant reader, or rather student, of books on the most serious questions, which furnished her knowledge of terms of state, precedents of history, ancient and modern law; she was familiar with the contents of works on philosophy, the drama, singing, and music, and with novels of all nations; her library was large and well selected.

During the latter years of her life she was considered as the first minister of state or even as regent of the kingdom, rather than as mere mistress. Louis XV. looked to her for the enforcement of the laws and his own orders. She was forced to receive, at any time, foreign amba.s.sadors and ministers; she had to meet in the Cabinet de Travail and give counsel to the generals who were her proteges; the clergy went to her and laid before her their plaints, and through her the financiers arranged their transactions with the state.

Notwithstanding all this influence and power, the record of her last years is a sorrowful one. More than ever queen, she was no longer loved by the king, who went to Pa.s.sy to continue his liaison with a young girl, the daughter of a lawyer. When Louis XV. as much as recognized a son by this woman, Mme. de Pompadour became deeply concerned; but the king was too much a slave to her domination to replace her, so she retained favor and confidence; the following letter shows that she enjoyed little else:

"The more I advance in years, my dear brother, the more philosophical are my reflections. I am quite sure that you will think the same.

Except the happiness of being with the king, who a.s.suredly consoles me in everything, the rest is only a tissue of wickedness, of plat.i.tudes, of all the miseries to which poor human beings are liable. A fine matter for reflection (especially for anyone born as meditative as I)!..." Later on, she wrote: "Everywhere where there are human beings, my dear brother, you will find falseness and all the vices of which they are capable. To live alone would be too tiresome, thus we must endure them with their defects and appear not to see them."

She realized that the king kept her only out of charity and for fear of taking up any energetic resolution. Her greatest disappointment was the utter failure of her political plans and aspirations, which came to naught by the Treaty of Paris. There was absolutely no glory left for her, and chagrin gradually consumed her. Her health had been delicate from youth; consumption was fast making inroads and undermining her const.i.tution, and the numerous miscarriages of her early years as mistress contributed to her physical ruin. For years she had kept herself up by artificial means, and had hidden her loss of flesh and fading beauty by all sorts of dress contrivances, rouges, and powders. She died in 1764, at the age of forty-two.

Writers differ as to the true nature of Mme. de Pompadour, some saying that she was bereft of all feeling, a callous, hard-hearted monster; others maintain that she was tender-hearted and sympathetic. However, the majority agree as to her possession of many of the essential qualifications of an able minister of state, as well as great apt.i.tude for carrying on diplomatic negotiations.

She was the greatest patroness of art that France ever possessed, giving to it the best hours of her leisure; it was her pastime, her consolation, her extravagance, and her ruin. All eminent artists of the eighteenth century were her clients. Artists were nourished, so to speak, by her favors. It may truthfully be said that the eighteenth-century art is a Pompadour product, if not a creation. The whole century was a sort of great relic of the favorite. Fashions and modes were slaves to her caprice, every new creation being dependent upon her approbation for its survival--the carriage, the _cheminee_, sofa, bed, chair, fan, and even the _etui_ and toothpick, were fashioned after her ideas. "She is the G.o.dmother and queen of the rococo." Such a eulogy, given by the De Goncourt brothers, is not shared by all critics. Guizot wrote: "As frivolous as she was deeply depraved and base-minded in her calculating easiness of virtue, she had more ambition than comported with her mental calibre or her force of character; she had taken it into her head to govern, by turns promoting and overthrowing the ministers, herself proffering advice to the king, sometimes to good purpose, but still more often with a levity as fatal as her obstinacy."

In _The Old Regime_, Lady Jackson has given an unprejudiced estimate of her: "She was the most accomplished and talented woman of her time; distinguished, above all others, for her enlightened patronage of science and of the arts, also for the encouragement she gave to the development of improvements in various manufactures which had stood still or were on the decline until favored by her; a fresh impulse was given to progress, and a perfection attained which has never been surpa.s.sed and, in fact, rarely equalled. _Les Gobelins_, the carpets of the Savonnerie, the _porcelaine de Sevres_, were all, at her request, declared _Manufactures Royales_. Some of the finest specimens of the products of Sevres, in ornamental groups of figures, were modelled and painted by Mme. de Pompadour, as presents to the queen.... The name of Pompadour is, indeed, intimately a.s.sociated with a whole school of art of the Louis Quinze period--art so inimitable in its grace and elegance that it has stood the test of time and remains unsurpa.s.sed. Artists and poets and men of science vied with each other in admiration of her talents and taste. And it was not mere flattery, but simply the praise due to an enlightened patroness and a distinguished artist."

If we consider the morals of high society, we shall scarcely find one woman of rank who could cast a stone at Madame de Pompadour. While admitting her moral shortcomings, it must nevertheless be acknowledged that she showed an exceptional ability in maintaining, for twenty years, her influence over such a man as Louis XV. Such was the power of this woman, the daughter of a tradesman, mistress, king in all save t.i.tle. She was, however, less powerful than her successor,--that successor who was less clever and less ambitious, who "never made the least scrupulous blush at the lowness of her origin and the irregularity of her life,"--Mme. du Barry.

Mme. du Barry was the natural daughter of Anne Bequs, who was supported by M. Dumonceau, a rich banker at Paris. The child was put into a convent, and, after pa.s.sing through different phases of life, she was finally placed in a house of pleasure, where she captivated the Comte du Barry, at whose harem she became the favorite. The count, who had once before tried to supply the king with a mistress, now planned for his favorite. The king ordered the brother of Du Barry, Guillaume, to hasten to Paris to marry a lady of the king's choice.

The girl's name had been changed officially and by the clergy, and a dowry had been given her. Thus was it possible for the king, after she had become the Comtesse du Barry, to take her as a mistress. Her husband was sent back to Toulouse, where he was stationed, while his wife was lodged at Versailles, within easy access of the king's own chamber.

After much intriguing and diplomacy on the part of her friends, especially Richelieu, she was to be presented at court. The scene is well described by the De Goncourt brothers, and affords a truthful picture of court manners and customs of the latter part of the reign of Louis XV.:

"The great day had arrived--Paris was rushing to Versailles. The presentation was to take place in the evening, after worship. The hour was approaching. Richelieu, filling his charge as first gentleman, was with the king, Choiseul was on the other side. Both were waiting, counting the moments and watching the king. The latter, ill at ease, restless, agitated, looked every minute at his watch. He paced up and down, uttered indistinct words, was vexed at the noise at the gates and the avenues, the reason of which he inquired of Choiseul. 'Sire, the people--informed that to-day Mme. du Barry is to have the honor of being presented to Your Majesty--have come from all parts to witness her _entree_, not being able to witness the reception Your Majesty will give her.' The time has long since pa.s.sed--Mme. du Barry does not appear. Choiseul (her enemy) and his friends radiate joy; Richelieu, in a corner of the room, feels a.s.surance failing him. The king goes to the window, looks into the night--nothing. Finally, he decides, he opens his mouth to countermand the presentation. 'Sire, Mme. du Barry!' cries Richelieu, who had just recognized the carriage and the livery of the favorite; 'she will enter if you give the order.' Just then, Mme. du Barry enters behind the Comtesse de Bearn, bedecked with the hundred thousand francs' worth of diamonds the king had sent her, coifed in that superb headdress whose long scaffolding had almost made her miss the hour of presentation, dressed in one of those triumphant robes which the women of the eighteenth century called 'robes of combat,' armed in that toilette in which the eyes of a blind woman (Mme. du Deffand) see the destiny of Europe and the fate of ministers; and it is an apparition so beaming, so dazzling, that, in the first moments of surprise, the greatest enemies of the favorite cannot escape the charm of the woman, and renounce calumniating her beauty."

According to reports, her beauty must have been of the ideal type of the time. All the portraits and images that Mme. du Barry has left of herself, in marble, engraving, or on canvas, show a _mignonne_ perfection of body and face. Her hair was long, silky, of an ashen blonde, and was dressed like the hair of a child; her brows and lashes were brown, her nose small and finely cut. "It was a complexion which the century compared to a roseleaf fallen into milk. It was a neck which was like the neck of an antique statue...." In her were victorious youth, life, and a sort of the divinity of a Hebe; about her hovered that charm of intoxication, which made Voltaire cry out before one of her portraits: _L'original etait fait pour les dieux!_ [The original was made for the G.o.ds!]

In her lofty position, Mme. du Barry sought to overcome the objections of the t.i.tled cla.s.s, to quell jealousies and petty quarrels; she did not usurp any power and always endeavored not to trouble or embarra.s.s anyone. After some time, she succeeded in winning the favor of some of the ladies, and, when her influence was fairly well established, she began to plan the overthrow of her enemy, De Choiseul, minister of Louis XV. She became the favorite of artists and musicians, and all Europe began to talk and write about this woman whom art had immortalized on canvas and who was then controlling the destinies of France. She succeeded, under the apprenticeship of her lover, the Duc d'Aiguillon, who was the outspoken enemy of De Choiseul, in accomplishing the fall of the minister and the fortune of her friend.

This success required but a short time for its culmination, for in 1770 he was deprived of his office and was exiled to Chantilly.

Mme. du Barry was never an implacable enemy; she was too kind-hearted for that; thus, when her friend D'Aiguillon insisted on depriving De Choiseul of his fortune, she managed to procure for the latter a pension of sixty-thousand livres and one million ecus in cash, in spite of the opposition of D'Aiguillon. After the fall of that minister all the princes of the blood were glad to pay her homage. She became almost as powerful as Mme. de Pompadour, but her influence was not directed in the same channels.

Her life was a mere senseless dream of _femme galante_, a luxurious revel, a constant whirl of pleasures, and extravagance in jewelry, silks, gems, etc. A service in silver was no longer rich enough--she had one in solid gold. To house all her gems of art, rare objects, furniture, she caused to be constructed a temple of art, "Luciennes,"

one of the most sumptuous, exquisite structures ever fitted out. The money for this was supplied by the _controleur general_, the Abbe Ferray, whose politics, science, duty, and aim in life consisted in never allowing Mme. du Barry to lack money. All discipline, morality, in fact everything, degenerated.

She had no rancor or desire for vengeance; she never humiliated those whom she could destroy; she always punished by silence, yet never won eternal silence by letters patent; generous to a fault, giving and permitting everything about her to be taken, she opened her purse to all who were kind to her and to all who happened in some way to please her. Keeping the heart of Louis XV. was no easy matter, as the case of Mme. de Pompadour clearly showed. The majority of his friends and her enemies endeavored to force a new mistress upon the king; surrounded on all sides by candidates for her coveted position, Mme. du Barry managed to hold her own. When the king was prostrated by smallpox, he sent her away on the last day.

The reign of Mme. du Barry was not one of tyranny, nor was it a domination in the strict sense of that word; for she was a nonent.i.ty politically, without ideas or plans. "Study the favor of Mme. du Barry: nothing that emanates from her belongs to her; she possesses neither an idea nor an enemy; she controls all the historical events of her time, without desiring them, without comprehending them....

She serves friendships and individuals, without knowing how to serve a cause or a system or a party, and she is protected by the providential course of things, without having to worry about an effort, intrigues, or grat.i.tude."

Her power and influence cannot be compared with those of her predecessor, Mme. de Pompadour. Modes were followed, but never invented by her. "With her taste for the pleasures of a grisette, her patronage falls from the opera to the couplet, from paintings and statuaries to bronzes and sculptures in wood; her _clientele_ are no longer artists, philosophers, poets--they are the G.o.ds of lower domains, mimics, buffoons, dancers, comedians." She was the lowest and most common type of woman ever influential in France.

After the death of the king, she was ordered to leave Versailles and live with her aunt. Later on, she was permitted to reside within ten leagues of Paris; all her former friends and admirers then returned, and she continued to live the life of old, buying everything for which she had a fancy and living in the most sumptuous style, never worrying about the payment of her debts. After a few years she was entirely forgotten, living at Luciennes with but a few intimate friends and her lover, the Duc de Brissac.

At the outbreak of the Revolution, she was living at Luciennes in great luxury on the fortune left her by the duke. Probably she would have escaped the guillotine had she not been so possessed with the idea of retaining her wealth. Four trips to England were undertaken by her, and on her return she found her estates usurped by a man named Grieve, who, anxious to obtain possession of her riches, finally succeeded in procuring her arrest while her enemies were in power.

From Sainte-Pelagie they took her to the Conciergerie, to the room which Marie Antoinette had occupied.

Accused of being the instrument of Pitt, of being an accomplice in the foreign war, of the insurrection in La Vendee, of the disorders in the south, the jury, out one hour, brought in a verdict of guilty, fixing the punishment at death within twenty-four hours, on the Place de la Republique. Upon hearing her sentence, she broke down completely and confessed everything she had hidden in the garden at Luciennes. On her way to the scaffold, she was a most pitiable sight to behold--the only prominent French woman, victim of the Revolution, to die a coward. The last words of this once famous and popular mistress were: "Life, life, leave me my life! I will give all my wealth to the nation. Another minute, hangman! _A moi! A moi!_" and the heavy iron cut short her pitiful screams, thus ending the life of the last royal mistress.

CHAPTER XII

MARIE ANTOINETTE AND THE REVOLUTION

The condition of France at the end of the reign of Louis XV. was most deplorable--injustice, misery, bankruptcy, and instability everywhere.

The action of the law could be overridden by the use of arbitrary warrants of arrest--_lettres de cachet_. The artisans of the towns were hampered by the system of taxation, but the peasant had the greatest cause for complaint; he was oppressed by the feudal dues and many taxes, which often amounted to sixty per cent of his earnings.

The government was absolute, but rotten and tottering; the people, oppressively and unjustly governed, were just beginning to be conscious of their condition and to seek the cause of it, while the educated cla.s.ses were saturated with revolutionary doctrines which not only destroyed their loyalty to the old inst.i.tutions, but created constant aspirations toward new ones.

Thus, when Louis XVI., a mere boy, began to reign, the whole French administrative body was corrupt, self-seeking, and in the hands of lawyers, a cla.s.s that dominated almost every phase of government. In general, inefficiency, idleness, and dishonesty had obtained a ruling place in the governing body; the few honest men who had a minor share in the administration either fell into a sort of disheartened acquiescence or lost their fortunes and reputations in hopeless revolt.

Under these conditions Louis XVI. began his reign; and although peace seemed to exist externally, the country was in revolution. France was as much under the modern "ring rule" as any country ever was--a condition of affairs largely due to the nature of the young king, whose predominant characteristics might be called a supreme awkwardness and an unpardonable lack of will power. He was a man who, during the first part of his reign, led a pure life; he possessed good and philanthropic intentions, but was hampered by a weak intellect and a stubbornness which bore little resemblance to real strength of will. Also, he entertained strong religious convictions, which were extremely detrimental to his policy and caused disagreements with his ministers--Turgot, on account of his philosophical principles, Necker, on account of his Protestantism.

His wife had those qualities which he lacked, decision and strength of character; unfortunately, she wielded no influence over him in the beginning, and when she did gain it, she used it in a fatal manner, because she was ignorant of the needs of France. Throughout her career of power, she evinced headstrong wilfulness in pursuing her own course. Thus, totally incapable of acting for himself, Louis XVI. was practically at the mercy of his aunts, wife, courtiers, and ministers, who fitted his policy to their own desires and notions; therefore, the vast stream of emoluments and honors was diverted by the ministers and courtiers into channels of their own selection. There were formed parties and combinations which were constantly intriguing for or against each other.

At the time of the accession of Louis XVI., when poverty was general over the kingdom, the household of the king consisted of nearly four thousand civilians, nine thousand military men, and relatives to the enormous number of two thousand, the supporting of which dependents cost France some forty-five million francs annually. Luckily there was no mistress to govern, as under Louis XV., but, in place of one mistress who was the dispenser of favors, there were numerous intriguing court women who were as corrupt and frivolous as the men.

These split the court into factions. As the finances of the country sank to the lowest ebb, odium was naturally cast upon the whole court, without exception, by the people; hence, the wholesale slaughter of the n.o.bility during the Revolution.

In this period, the most critical in the history of France, the queen, Marie Antoinette, as the central figure, the leader of society, the model and example to whom all looked for advice upon morals and fashions, played an important role. Although not of French birth, she deserves to be ranked among the women influential in France, since she became so thoroughly imbued with French traits and characteristics that she forgot her native tongue. French life and spirit moulded her in such fashion that even the French look upon her as a French woman.

Before judging this unfortunate princess who has been condemned by so many critics, we must take into consideration the demands that were made upon her. Parade was the primary requisite: she was obliged to keep up the splendor and attractiveness of the French monarchy; in this she excelled, for her manner was dignified, gracious, and "appropriately discriminating. It is said that she could bow to ten persons with one movement, giving, with her head and eyes, the recognition due to each one." It is said, also, that as she pa.s.sed among the ladies of her court, she surpa.s.sed them all in the n.o.bility of her countenance and the dignified grace of her carriage. All foreigners were enchanted with her, and to them she owes no small part of her posthumous popularity.

She was reproached by French women for being exclusively devoted to the society of a select, intimate circle. Moreover, her conduct brought slander upon her; as her companions she chose men and women of bad reputation, and was constantly surrounded by dissipated young n.o.blemen whom she permitted to come into her presence in costumes which shocked conservative people; she encouraged gambling, frequented the worst gambling house of the time, that of the Princesse de Guemenee, and visited masked b.a.l.l.s where the worst women of the capital jostled the great n.o.bles of the court; her husband seldom accompanied her to these pleasure resorts.

During part of the reign of Marie Antoinette the country was waging an expensive war and was deeply in debt, but the queen did not set an example of economy by retrenching her expenses; although her personal allowance was much larger than that of the preceding queen, she was always in debt and lost heavily at gambling. Generally, she avoided interference with the government of the state, but as the wife of so incapable a king she was forced into an attempt at directing public matters. Whenever she did mingle in state affairs, it was generally fatal to her interests and popularity. She usually carried out her wishes, for the king shrank from disappointing his wife and dreaded domestic contentions.

He permitted her to go out as she did with the Comte d'Artois, her brother-in-law, to masked b.a.l.l.s, races, rides in the Bois de Boulogne, and on expeditions to the salon of the Princesse de Guemenee, where she contracted the ills of a chronically empty purse and late hours.

When attacked by measles, to relieve her ennui--which her ladies were not successful in doing--she procured the consent of the king to the presence of four gentlemen, who waited upon her, coming at seven in the morning and not departing until eleven at night; and these were some of the most depraved and debauched among the n.o.bility--such as De Besenval, the Duc de Coigny, and the Duc de Guines.

While in power, she always sided with extravagance and the court, against economy and the nation. If we add to all these defects a vain and frivolous disposition, a nature fond of admiration, pleasure, and popularity, and lending a willing ear to all flattery, compliments, and counsels of her favorites, her Austrian birth, and as "little dignity as a Paris grisette in her escapades with the dissipated and arrogant Comte d'Artois," we have, in general, the causes of her wide unpopularity.

It will be seen that as long as she was frivolous and imprudent, she was flattered and admired; as soon as she became absolutely irreproachable, she was overwhelmed with harsh judgments and expressions of ill will. The first period was during the first years of the reign of Louis XVI., while he was still all-powerful and popular; the second phase of her character developed during the trying days of the king's first fall into disfavor and his ultimate imprisonment and death. From this account of her career, it will be seen that Marie Antoinette, as dauphiness and queen, was rather the victim of fate and the invidious intrigues of a depraved court than herself an instigator and promulgator of the extravagance and dissipation of which she was accused.