“These secret excursions, and his too habitual intercourse with ladies more distinguished for their personal charms than for the advantages of education, were no doubt the means by which the King acquired many vulgar expressions which otherwise would never have reached his ears.

“Yet amidst the most shameful excesses the King sometimes suddenly resumed the dignity of his rank in a very noble manner. The familiar courtiers of Louis XV. had one day abandoned themselves to the unrestrained gaiety, of a supper, after returning from the chase. Each boasted of and described the beauty of his mistress. Some of them amused themselves with giving a particular account of their wives’ personal defects. An imprudent word, addressed to Louis XV., and applicable only to the Queen, instantly dispelled all the mirth of the entertainment. The King assumed his regal air, and knocking with his knife on the table twice or thrice, ‘Gentlemen; said he, ‘here is the King!’

“Those men who are most completely abandoned to dissolute manners are not, on that account, insensible to virtue in women. The Comtesse de Perigord was as beautiful as virtuous. During some excursions she made to Choisy, whither she had been invited, she perceived that the King took great notice of her. Her demeanour of chilling respect, her cautious perseverance in shunning all serious conversation with the monarch, were insufficient to extinguish this rising flame, and he at length addressed a letter to her, worded in the most passionate terms. This excellent woman instantly formed her resolution: honour forbade her returning the King’s passion, whilst her profound respect for the sovereign made her unwilling to disturb his tranquillity. She therefore voluntarily banished herself to an estate she possessed called Chalais, near Barbezieux, the mansion of which had been uninhabited nearly a century; the porter’s lodge was the only place in a condition to receive her. From this seat she wrote to his Majesty, explaining her motives for leaving Court; and she remained there several years without visiting Paris. Louis XV. was speedily attracted by other objects, and regained the composure to which Madame de Perigord had thought it her duty to sacrifice so much. Some years after, Mesdames’ lady of honour died. Many great families solicited the place. The King, without answering any of their applications, wrote to the Comtesse de Perigord: ‘My daughters have just lost their lady of honour; this place, madame, is your due, as much on account of your personal qualities as of the illustrious name of your family.’

“Three young men of the college of St. Germain, who had just completed their course of studies, knowing no person about the Court, and having heard that strangers were always well treated there, resolved to dress themselves completely in the Armenian costume, and, thus clad, to present themselves to see the grand ceremony of the reception of several knights of the Order of the Holy Ghost. Their stratagem met with all the success with which they had flattered themselves. While the procession was passing through the long mirror gallery, the Swiss of the apartments placed them in the first row of spectators, recommending every one to pay all possible attention to the strangers. The latter, however, were imprudent enough to enter the ‘oeil-de-boeuf’ chamber, where, were Messieurs Cardonne and Ruffin, interpreters of Oriental languages, and the first clerk of the consul’s department, whose business it was to attend to everything which related to the natives of the East who were in France. The three scholars were immediately surrounded and questioned by these gentlemen, at first in modern Greek. Without being disconcerted, they made signs that they did not understand it. They were then addressed in Turkish and Arabic; at length one of the interpreters, losing all patience, exclaimed, ‘Gentlemen, you certainly must understand some of the languages in which you have been addressed. What country can you possibly come from then?’—‘From St. Germain-en-Laye, sir,’ replied the boldest among them; ‘this is the first time you have put the question to us in French.’ They then confessed the motive of their disguise; the eldest of them was not more than eighteen years of age. Louis XV. was informed of the affair. He laughed heartily, ordered them a few hours’ confinement and a good admonition, after which they were to be set at liberty.

“Louis XV. liked to talk about death, though he was extremely apprehensive of it; but his excellent health and his royal dignity probably made him imagine himself invulnerable. He often said to people who had very bad colds, ‘You’ve a churchyard cough there.’ Hunting one day in the forest of Senard, in a year in which bread was extremely dear, he met a man on horseback carrying a coffin. ‘Whither are you carrying that coffin?’—‘To the village of –,’ answered the peasant. ‘Is it for a man or a woman?’—‘For a man.’—‘What did he die of?’—‘Of hunger,’ bluntly replied the villager. The King spurred on his horse, and asked no more questions.

“Weak as Louis XV. was, the Parliaments would never have obtained his consent to the convocation of the States General. I heard an anecdote on this subject from two officers attached to that Prince’s household. It was at the period when the remonstrances of the Parliaments, and the refusals to register the decrees for levying taxes, produced alarm with respect to the state of the finances. This became the subject of conversation one evening at the coucher of Louis XV. ‘You will see, Sire,’ said a courtier, whose office placed him in close communication with the King, ‘that all this will make it absolutely necessary to assemble the States General!’

“The King, roused by this speech from the habitual apathy of his character, seized the courtier by the arm, and said to him, in a passion, ‘Never repeat, these words. I am not sanguinary; but had I a brother, and were he to dare to give me such advice, I would sacrifice him, within twenty-four hours, to the duration of the monarchy and the tranquillity of the kingdom.’

“Several years prior to his death the Dauphin, the father of Louis XVI., had confluent smallpox, which endangered his life; and after his convalescence he was long troubled with a malignant ulcer under the nose. He was injudiciously advised to get rid of it by the use of extract of lead, which proved effectual; but from that time the Dauphin, who was corpulent, insensibly grew thin, and a short, dry cough evinced that the humour, driven in, had fallen on the lungs. Some persons also suspected him of having taken acids in too great a quantity for the purpose of reducing his bulk. The state of his health was not, however, such as to excite alarm. At the camp at Compiegne, in July, 1764, the Dauphin reviewed the troops, and evinced much activity in the performance of his duties; it was even observed that he was seeking to gain the attachment of the army. He presented the Dauphiness to the soldiers, saying, with a simplicity which at that time made a great sensation, ‘Mes enfans, here is my wife.’ Returning late on horseback to Compiegne, he found he had taken a chill; the heat of the day had been excessive; the Prince’s clothes had been wet with perspiration. An illness followed, in which the Prince began to spit blood. His principal physician wished to have him bled; the consulting physicians insisted on purgation, and their advice was followed. The pleurisy, being ill cured, assumed and retained all the symptoms of consumption; the Dauphin languished from that period until December, 1765, and died at Fontainebleau, where the Court, on account of his condition, had prolonged its stay, which usually ended on the 2d of November.

“The Dauphiness, his widow, was deeply afflicted; but the immoderate despair which characterised her grief induced many to suspect that the loss of the crown was an important part of the calamity she lamented. She long refused to eat enough to support life; she encouraged her tears to flow by placing portraits of the Dauphin in every retired part of her apartments. She had him represented pale, and ready to expire, in a picture placed at the foot of her bed, under draperies of gray cloth, with which the chambers of the Princesses were always hung in court mournings. Their grand cabinet was hung with black cloth, with an alcove, a canopy, and a throne, on which they received compliments of condolence after the first period of the deep mourning. The Dauphiness, some months before the end of her career, regretted her conduct in abridging it; but it was too late; the fatal blow had been struck. It may also be presumed that living with a consumptive, man had contributed to her complaint. This Princess had no opportunity of displaying her qualities; living in a Court in which she was eclipsed by the King and Queen, the only characteristics that could be remarked in her were her extreme attachment to her husband, and her great piety.

“The Dauphin was little known, and his character has been much mistaken. He himself, as he confessed to his intimate friends, sought to disguise it. He one day asked one of his most familiar servants, ‘What do they say in Paris of that great fool of a Dauphin?’ The person interrogated seeming confused, the Dauphin urged him to express himself sincerely, saying, ‘Speak freely; that is positively the idea which I wish people to form of me.’

“As he died of a disease which allows the last moment to be anticipated long beforehand, he wrote much, and transmitted his affections and his prejudices to his son by secret notes.

“Madame de Pompadour’s brother received Letters of Nobility from his Majesty, and was appointed superintendent of the buildings and gardens. He often presented to her Majesty, through the medium of his sister, the rarest flowers, pineapples, and early vegetables from the gardens of Trianon and Choisy. One day, when the Marquise came into the Queen’s apartments, carrying a large basket of flowers, which she held in her two beautiful arms, without gloves, as a mark of respect, the Queen loudly declared her admiration of her beauty; and seemed as if she wished to defend the King’s choice, by praising her various charms in detail, in a manner that would have been as suitable to a production of the fine arts as to a living being. After applauding the complexion, eyes, and fine arms of the favourite, with that haughty condescension which renders approbation more offensive than flattering, the Queen at length requested her to sing, in the attitude in which she stood, being desirous of hearing the voice and musical talent by which the King’s Court had been charmed in the performances of the private apartments, and thus combining the gratification of the ears with that of the eyes. The Marquise, who still held her enormous basket, was perfectly sensible of something offensive in this request, and tried to excuse herself from singing. The Queen at last commanded her; she then exerted her fine voice in the solo of Armida—‘At length he is in my power.’ The change in her Majesty’s countenance was so obvious that the ladies present at this scene had the greatest difficulty to keep theirs.

“The Queen was affable and modest; but the more she was thankful in her heart to Heaven for having placed her on the first throne in Europe, the more unwilling she was to be reminded of her elevation. This sentiment induced her to insist on the observation of all the forms of respect due to royal birth; whereas in other princes the consciousness of that birth often induces them to disdain the ceremonies of etiquette, and to prefer habits of ease and simplicity. There was a striking contrast in this respect between Maria Leczinska and Marie Antoinette, as has been justly and generally observed. The latter unfortunate Queen, perhaps, carried her disregard of everything belonging to the strict forms of etiquette too far. One day, when the Marechale de Mouchy was teasing her with questions relative to the extent to which she would allow the ladies the option of taking off or wearing their cloaks, and of pinning up the lappets of their caps, or letting them hang down, the Queen replied to her, in my presence: ‘Arrange all those matters, madame, just as you please; but do not imagine that a queen, born Archduchess of Austria, can attach that importance to them which might be felt by a Polish princess who had become Queen of France.’

“The virtues and information of the great are always evinced by their conduct; their accomplishments, coming within the scope of flattery, are difficult to be ascertained by any authentic proofs, and those who have lived near them may be excused for some degree of scepticism with regard to their attainments of this kind. If they draw or paint, there is always an able artist present, who, if he does not absolutely guide the pencil with his own hand, directs it by his advice. If a princess attempt a piece of embroidery in colours, of that description which ranks amongst the productions of the arts, a skilful embroideress is employed to undo and repair whatever has been spoilt. If the princess be a musician, there are no ears that will discover when she is out of tune; at least there is no tongue that will tell her so. This imperfection in the accomplishments of the great is but a slight misfortune. It is sufficiently meritorious in them to engage in such pursuits, even with indifferent success, because this taste and the protection it extends produce abundance of talent on every side. Maria Leczinska delighted in the art of painting, and imagined she herself could draw and paint. She had a drawing-master, who passed all his time in her cabinet. She undertook to paint four large Chinese pictures, with which she wished to ornament her private drawing-room, which was richly furnished with rare porcelain and the finest marbles. This painter was entrusted with the landscape and background of the pictures; he drew the figures with a pencil; the faces and arms were also left by the Queen to his execution; she reserved to herself nothing but the draperies, and the least important accessories. The Queen every morning filled up the outline marked out for her, with a little red, blue, or green colour, which the master prepared on the palette, and even filled her brush with, constantly repeating, ‘Higher up, Madame—lower down, Madame—a little to the right—more to the left.’ After an hour’s work, the time for hearing mass, or some other family or pious duty, would interrupt her Majesty; and the painter, putting the shadows into the draperies she had painted, softening off the colour where she had laid too much, etc., finished the small figures. When the work was completed the private drawing-room was decorated with her Majesty’s work; and the firm persuasion of this good Queen that she had painted it herself was so entire that she left this cabinet, with all its furniture and paintings, to the Comtesse de Noailles, her lady of honour. She added to the bequest: ‘The pictures in my cabinet being my own work, I hope the Comtesse de Noailles will preserve them for my sake.’ Madame de Noailles, afterwards Marechale de Mouchy, had a new pavilion constructed in her hotel in the Faubourg St. Germain, in order to form a suitable receptacle for the Queen’s legacy; and had the following inscription placed over the door, in letters of gold: ‘The innocent falsehood of a good princess.’

“Maria Leczinska could never look with cordiality on the Princess of Saxony, who married the Dauphin; but the attentive behaviour of the Dauphiness at length made her Majesty forget that the Princess was the daughter of a king who wore her father’s crown. Nevertheless, although the Queen now saw in the Princess of Saxony only a wife beloved by her son, she never could forget that Augustus wore the crown of Stanislaus. One day an officer of her chamber having undertaken to ask a private audience of her for the Saxon minister, and the Queen being unwilling to grant it, he ventured to add that he should not have presumed to ask this favour of the Queen had not the minister been the ambassador of a member of the family. ‘Say of an enemy of the family,’ replied the Queen, angrily; ‘and let him come in.’