France; the nation and its development from earliest times to the establishment of the third republic

Preface

THOUGH interrupted from time to time by pressure of other work, the writing of this book has occupied me for a number of years. It was therefore begun without any anticipation of the crisis which in August 19 14 was to unite France and Kngland in a common cause against a common foe. Of the additional interest which their alHance has given to the completion of my task it is scarcely necessary to speak, but reference may be permitted to another point which during the preparation of my last chapters has been always uppermost in my mind. C The war which is now raging is, as it cannot be too often repeated, essentially a conflict of principles, and the principles for which France and her allies are fighting to-day are just those principles of democratic government which she was herself the first among European nations to proclaim in unmistakable terms to the world. The Revolution, it is true, appeared to end in disaster for the democratic cause; /a hundred years ago all Burope was in the midst of a sweeping reaction ; everjnvhere the powers of darkness seemed to have entered upon a new tenure of life ; in our own country, in Professor Pollard's vivid phrase, the Tories were sitting " upon the safety-valve of constitutional reform." But the great movement, though checked, could not be permanently arrested; 1830, 1832, 1848, 1871 are dates which mark its further progress in the teeth of everreviving opposition ; the present struggle against militarism and autocracy is only its continuation ; and the overthrow of Prussia and of all that Prussia has stood for will be the^ victory of the ideals by which from the outset it was inspired. Hence the significance of the Revolution in Russia, which is

vii yet in its early stages as I write, but which happily gives every promise of stability ; hence the significance of the entry into the alliance of the great American Republic, pledged, in President Wilson's words, to " spend her blood and might for the principles that gave her birth." In the light of these things, and of the vast changes now impending, the history of France — the standard-bearer of liberty among the peoples — is fraught with fresh meaning for those of us who believe that the triumph of dem.ocracy is the only guarantee of the future

^of civilization.

My warmest thanks are due to the friends who have helped me in various ways during the progress of my work : in particular, to Mr J. K. Mansion, B.-es-I/., for his kindness in reading the whole of my manuscript and for many valuable criticisms and suggestions ; and to Mr C. C. Wood, for similar services while the book was passing through the press, and for his patience and skill in the verification or correction of innumer-

^able difficult points of detail. To Mr Wood I am furthermore indebted for the Index. I desire also to express my gratitude to the lyibrairie I^arousse of Paris for their great courtesy in supplying many of the blocks which I have used in this volume, and for providing information concerning others of the illustrations chosen.

WIIylylAM HKNRY HUDSON I/ONDON, May 191 7

Vlll

Book I : The Gauls, The Romans, And The Franks Chaftbr Paob

I. Gaui< before the coming of the Franks i II. The Franks : The Merwing or Merovingian

Dynasty 14

III. The KarIvIng or Cari^ovingian Dynasty 27

IV. Chari^emagne 35

V. The lyAST OF THE KARI^INGS 46

Book II : The Feudal Monarchy

I. The First Four Capetian Kings 57

II. Feudai^ism and Chivai^ry 67

III. The First Crusade 77

IV. I.OUIS VI 89 V. I^ouis VII 97

VI. Phu^ippe II : I^ouis VIII 103

VII. I,ouis IX 119

VIII. The Spring-time of the Renaissance 134

IX. Phh^ippe III : Phii^ippe IV 145

X. The Knd of the Capetian Dynasty 153

ix

HISTORY OF FRANCE BOOK III : THE HOUSE OF VALOIS

CHAPTER PAGE

I. Thk Hundred Years' War : The First Stage 158

II. The Hundred Years' War : The Second Stage 163

III. The Hundred Years' War : The Third Stage 167

IV. The Hundred Years' War : The lyAST Stage 172 V. France during the Hundred Years' War 184

VI. lyouis XI 194

VII. Chari.es VIII : I,ouis XII 216

VIII. Francois I : Henri II 230

IX. The Renaissance in France 245

X. The I/Ast of the Vai^ois : The Reformation in

^ France and the Wars of Rei^igion 261

Book IV : The House Of Bourbon

I. Henri IV 289

II. lyouis XIII : First Period 314

III. lyOuis XIII : Second Period 326

IV. lyouis XIV : I. The Administration of Mazarin 346

V. I,ouis XIV : II. The Zenith of Absoi^ute

Monarchy 362

VI. lyouis XIV: III. The Period of Deci^ine 380

VII. ' lyE Grand Sie^ci^e ' 404

VIII. I<ouis XV : I. The Regency 419

IX. I^ouis XV : II. The Monarchy 438

f^X. I^ouis XVI : From his Accession to 1789 455

CO,N,TE,NTS

Book V : The Revolution And The Empire

lAPXER PAOK

I. PRHlylMINARY 470

II. The vStates-Generai, and the Constituent

AsSEMBIyY 485

III. The lyEGISI^ATIVE ASSEMBI^Y 497

IV. The Nationai, Convention 506 V. The Directory 522

VI. The C0NSXJI.ATE 530

VII. The Empire 538

Book VI : France Since 1815

I. The Restoration 554

II. The Second Repubi^ic 563

III. The Second Empire 572

lyisT OF Important Dates 583

Index 587

XI

GENEALOGICAL TABLES

The Mbrwing Dynasty Thk KarIvIng Dynasty :

{a) To Chari^emagnk

(b) The I/ATEr Kari^ings The House of Capet ic

The House of Vai^ois 22

Tabi,e to expi^ain the War of the Spanish Suc-

cession 33

The Bourbon Dynasty . ^ 41

MAPS

The Empire of Chari^es the Great, c. 800

France at the Accession of Hugues Capet

France at the End of the Hundred Years' War ii

France under the Oi,d R]feGiME 4!

France : The Departments 41 xu

PAes

Jeanne Darc Frontispiece —

B. 1412, d. 1 43 1. From the statue by Henri Chapu in the Luxembourg. Photo Alinari.

The Arena, Arles 10

The date of building of this arena or amphitheatre, the - largest in France, is uncertain, but it is known that several Roman emperors held games there. Toward the end of the eighth century it passed into the hands of the Arabs, who converted it into a fortress and flanked it with four enormous observation towers, two of which are still standing and are shown in the illustration. X Photo.

The Maison Carrj^e, Nimes 10-^

" One of the most beautiful of ancient buildings in the world, as well as the best preserved. Malfei, who had seen all the buildings of Italy, expresses himself with so much admiration in speaking of this that he says the sight of it alone is sufficient to give a taste for architecture to those who never had any. The order is Corinthian ; the ornaments are so exquisitely delicate, and the proportions so just, that nothing, even in the age of Augustus, ever surpassed it. It is surrounded with thirty columns. Its length is 72 feet and its breadth 36 feet. M. Seguier supposes it to have been consecrated to Caius and Lucius Caesar, the adopted sons of Augustus." — An inscription upon a model of the Maison Carrie in the Bodleian, Oxford. CollectionJRischgitz.

A Merovingian Villa 22 "

This reconstruction after M. Charles Gamier (see L' Habitation humaine, by C. Garnier and A. Ammann, p. 593) is interesting among other reasons because it shows very clearly that the Merovingian villa was the rude germ of the wooden feudal castle of the tenth century, which in turn evolved into the solid stone structure of the early eleventh. Special features deserving notice are, therefore, the central tower, which afterward developed into

xiii no.

the keep, and the- defensive stockade, later reinforced by the moat. " The Prankish villa always consisted of two distinct parts, sharply separated from one another and designated by different names ; on the one hand there was the residence properly so called of the master and his family (curtis), the friends who were his guests and his personal domestics sharing this with him ; on the other, there were the buildings designed for the slaves, the animals, and all the implements useful in agricultural labour" {op. cit., -p. 591). These particulars indicate that such an establishment was on a very extensive scale and that its proprietor was evidently a man of considerable wealth and consequence. Reproduced by permission of Messrs Hachette &> Co., Paris.

5. The Iron Crown of Chari^emagne

Preserved in the Treasury of Monza Cathedral. With this the Lombard kings, it is said, were crowned at Pavia, their capital, or Milan, or perhaps Monza. It was used by Charles V, who crowned himself with it at Bologna in 1530, and by Napoleon at Milan in 1805 (p. 538)- In 1859 it was carried off by the Austrians, but was restored in 1866. Perhaps the original was a simple iron crown, or possibly only the interior circlet of iron (visible in the picture), which tradition asserted to have been formed of one of the nails of the Cross, brought by Helena from Jerusalem. The golden, jewelled exterior dates perhaps * from about iioo. It is a simpler and apparently later

work than the imperial crown figured below. (Condensed from note in Mr H. B. Cotterill's Medieval Italy.) Photo G. Bianchi, Monza.

6. Tim SO-CALLED Crown of Charlemagne

" This magnificent crown, surmounted by a cross and arched diadem, is in the Imperial Treasury at Vienna. There is great divergence of opinion as to its date. Some authorities, as Bock — ^with whom I agree — ^believe the crown itself to be early Italian work, and the diadem with the name ' Conrad ' to have been a later addition. In this case there is just a possibility that the crown is ' actually that which was used by Leo III to crown Charles the Great. But some patriotic Teutons . . . assert that both parts were undoubtedly made in Germany, and they insist that the whole cannot be anything but eleventhcentury work, and therefore must be an imperial diadem made specially (at Mainz ?) for the coronation of Conrad II and his consort Gisela in 1027. . . . The arched diadem bears, worked in pearls, the words Chuonradus Dei Gratia Imperator Augustus. The crown itself is a mass of precious stones, gold filigree, and pearls. It has three pictures in enamel representing (i) Christ, between two angels, as King of Kings ; (2) David as the King of

xiv

IG.

PA6B

Manly Courage ; (3) Solomon as the King of Justice and Wisdom ; (4) Hezekiah as the King of Piety." (Mr H. B. Cotterill's note in his Medieval Italy.) Photo by S. Schramm, Vienna, photographer to the Court of Rumania.

7. Facsimii^e of Part of the Strassburg Oaths 48 -

The part reproduced gives the oath taken by Ivouis, as preserved in the unique manuscript of Nithard's Historiarum Libri'IV, Book III, chap, v (Bibliotheque Nationale, MS. 9768, fonds latin).

lyouis took the oath in Romance, and Charles repeated it in German. The second oath was taken, in Romance and in German, by the armies of the two Kings. Nithard's manuscript gives the Romance and the German versions of both oaths, and is a document of supreme interest to philologists. (See p. 49.)

8. The CastIvE of Monti^hj^ry 64*^

Of the great castle of Montlh^ry, between Paris and ]^tampes, all that remains to-day is the keep, with the adjoining stair-turret. The substructures of four other towers and of the main walls, and also of the three fortified terraces which separated the castle from the town below, are still plainly discernible, however, and, founding on these, the well-known artist and archaeologist P. Hoffbauer has reconstituted the castle as it appeared in the thirteenth and fourteenth centuries.

The original fortress was built in the eleventh century by a younger son of the house of Montmorency. Under Philippe I it was the stronghold and retreat of the brigand Hugues de Cr^cy (see pp. 65, 90). From Larousse, " Histoire de France."

9. A Crusader Knight 74^

Prom a French bronze of the fourteenth century in the National Museum, Florence. Photo Brogi.

o. The ChAteau Gaii.i.ard iio ^

Built by Richard I in 1 197 on a height above the village of lyes Andelys to command the navigation of the Seine and protect Normandy against Philippe-Auguste. Owing to its position, its triple lines of outworks, its seventeen towers, and its walls of from 8 to 14 feet in thickness, it was at the time deemed impregnable, yet it was captured by Philippe in 1204 (see p. iii). It was afterward used as a State prison, and was the scene of the murder of Margaret of Burgundy, wife of Ivouis X, in 1 3 15. Though, except for the donjon, it is now in ruins, it is considered one of the finest specimens of the Norman castle. Our illustration is, of course, reproduced from Turner's well-known picture in the Seine et Loire series.

XV

The Cathedral of Notre-Dame is the most imposing thirteenth-century monument in Paris. It was begun in the twelfth century by Bishop Maurice de Sully, on the site of a church dating back to the fourth century, but only the apse and part of the nave were built at this time. The principle fa9ade was begun under Philippe- Auguste, and it was under Louis IX that Jean de Chelles, the only architect of Notre-Dame whose name has come down to us, built in 1257 ^^^ southern fagade and several of the chapels which surround the choir. During the course of the eighteenth century and of the First Empire the appearance of the cathedral was much altered by illjudged restorations ; it was much neglected and was threatening ruin when in 1845 the great architects Lassus and VioUet-le-Duc undertook to save the monument and restored to it much of its early splendour. X Photo.

12. Portrait of IvOuis IX 124'

B. 12 15, d. 1270. From an engraving by Pedretti after the portrait by de Creuse.

13. lyOUIS IX AND Bl^ANCHE OF CaSTII^K I24'

i From an ivory medallion in the Cluny Museum. Blanche of

Castile was bom in 1188, and <Ued in 1252. Photo A. Giraudon.

14. The Cathedrai,, Amiens 136''

This " Parthenon of Gothic architecture," as VioUet-le-Duc called it, has served as a model for many other monuments in France and other countries, particularly for Cologne Cathedral. It was erected in 1220-88 by Robert de I^uzarches, Thomas de Cormont, and the latter' s son Renault. The towers of the west fagade belong respectively to the thirteenth and fifteenth centuries ; the west portal was completed in the fourteenth. It has been calculated that the erection of such a building to-day would entail an expenditure of at least ;^4,ooo,ooo. X Photo.

15. The Sainte-Chapei<le 142^

Besides the Cathedral of Notre-Dame, Paris possesses two other churches dating from the thirteenth century, Saint- Julien-le-Pauvre and the Sainte-Chapelle.

The latter, the most perfect monument in pure Gothic style to be found in Europe, was built by Louis IX in 1245. It formed a part of the Palais de la Cit6, where Louis often resided, and was intended to serve as his private chapel. It consists of two stories : the ' lower chapel,' intended for the people and officials who dwelt within the precincts of the Palais, and the ' upper chapel,' reserved for tli§ Ki^ig and his f a,mily. To give the church

xvi

5IG. PAGE

more elegance, its architect, Pierre de Montereau, supported all the weight of the vaulted roof on outer buttresses, and was thus able to admit the light through vast windows of marvellous design and colouring. During the Revolution the Sainte-Chapelle was turned into a wheat-store, and suffered other vicissitudes. It was restored in 1837 by VioUet-le-Duc. X Photo.

16. The PaIvA-CK of the Popes, Avignon 148"^

This heavy and fortress-like pile, flanked by six (originally seven) towers, is composed of an irregular assemblage of buildings constructed by five successive Popes (1316-64) during the period of the ' B abylonish Captivity ' (seep. 149). Avignon remained a papal possession till 1791, when it was united to France. X Photo.

17. The Batti^e of Poitiers i6o ^

Miniature from a French manuscript in the Biblioth^que Nationale. From Larousse, " Hisioire de France."

18. The Death of Du Guescun 164?^

From a miniature in a manuscript of the Grandes Chroniques de France, or Chroniques de Saint-Denis (Bibliotheque Nationale). From Larousse, " Histoire de France."

19. The House of Jacques Cceur, Bourges 172 ^

Now the Palais de Justice. Built in the latter half of the fifteenth century, and an admirable example of Gothic architecture applied to domestic purposes (see p. 144). The porch of the facade was originally surmounted by a statue of Charles VII. The chapel on the first floor above the entrance contains ceiling-paintings of the fifteenth century. The statue of Jacques Coeur faces the building. X Photo.

20. The Pi,ace de Greve in the Fifteenth Century i86 -"

This ' place ' has a sinister interest in the history of France. As early as the fifteenth century it was a place of execution, and it was here that in 1627 Richelieu struck a powerful blow at the custom of duelling (see p. 335) . The view is reproduced from a drawing by F. Hoffbauer in Les Rives de la Seine a travers les Ages (Paris, H. I^aurens).

21. Portrait of I^ouis XI 200 ^

B. 1423, d. 1483. From a crayon drawing in the British Museum. Collection Rischgitz.

22. Portrait of Chari^es the Boi<d 200 ^

Last Duke of Burgundy ; b. 1433, d. 1477. Collection Rischgitz.

b xvu no. PACK

23. Portrait of Francois I 232 <

B. 1494, d. 1547. From the portrait by Titian in the lyouvre. X Photo.

24. Paris : View of the City in the Sixteenth

Century 242.^

This drawing is one of the scholarly reproductions for which its author, F. HofEbauer, is well known, and it is inserted here from Les Rives de la Seine a tr avers les Ages (Paris, H. lyEurens). In the foreground are shown the preparations for building the Pont-Neuf, begun about 1578. This bridge was carried across the river and rests upon the two small islands, the Ile-aux-Bureaux and the He de Bussy, seen on the right. From left to right we see the Pont-aux-Meuniers, the Conciergerie, the Moulin de la Monnaie, the Tour de Montgomery, the Palais de St Ivouis, the Sainte-Chapelle, the Maison des l^tuves, and the Pont Saint-Michel.

25. The Pai^ais Ducai,, Nancy ^ 246^

The palace illustrates the latest development of domestic Gothic in France before the transition to the Renaissance ^ type of architecture. The handsome porch dates from the

early sixteenth century, but the equestrian statue of Antoine de lyorraine {d. 1544) above the door is the work of the modem sculptor Viard. X Photo.

26. Portrait of Rabei^ais 250^

B. 1495 {?), d. 1553. From a portrait in the Geneva I^ibrary.

27. Portrait of Montaigne 250"

B. 1533, d. 1592. Engraving by Augustin de Saint-Aubin, from the original painting at the castle of Montaigne. Collection Rischgitz.

28. The Chateau of Amboise 254 '

This castle came into the possession of the French Crown in 1434, and was a favourite residence of the Valois kings. Here Charles Vlll was born, and here he met with the accident which caused his death (see p. 225). It was the centre of the Conspiracy of Amboise (see p. 269) and the scene of the butchery which followed, among those who witnessed the executions of the conspirators being Catherine de Medicis, her three sons, and Fran9ois' young bride, Mary, afterward Queen of Scots. The castle was long used as a State prison, and its subterranean oubliettes, originally constructed by l^ouis XI, enjoyed a sinister reputation. Under the Restoration it became the property of the Orleans family. It is now an asylum for military veterans. X Photo.

xviii

29. The ChAteau of Bi,ois 254

First built by the Counts of Blois, from whom it was purchased toward the end of the fourteenth century by I^ouis, Duke of Orleans, son of Charles V. With the accession of the Duke's grandson, luouis XII, it became a residence of the French kings, and Fran9ois I spent large sums of money in its enlargement and embellishment, the wing which bears his name being one of the masterpieces of Renaissance architecture. The castle is very rich in historical associations. In it I^uis XII was born ; in it Henri IV and Margaret of Valois were married ; in it the Duke of Guise and his brother the Cardinal were assassinated by order of Henry III (see p. 285) ; in it Catherine de Medicis died ; in it Marie de Medicis was imprisoned b}'^ her son lyouis XIII, who afterward presented it to his brother Gaston of Orleans. Here also for a short time in 1814 Marie-Louise held her Court after Paris had capitulated. It was then neglected and used as a barracks, but in 1880-87 it was restored at great cost. X Photo.

\o. Specimens of Pai^issy Earthenware 258 ^

These ornate dishes are preserved in the Louvre, and are striking examples of the standard reached in the minor arts of the French Renaissance. Photo Mansell.

\i. Portrait of Fran^^ois II 262 ^

B. 1544, d. 1560. From a contemporary pencil drawing by Francois Clouet. Photo A, Giraudon.

\2. Portrait of Francois, Second Duke of Guise 262 ^

B. 1519, d. 1563. From a contemporary pencil drawing by C. Dumonstier. Photo A. Giraudon.

3. The Cardinal of I^orraine 262 ^

Charles, Cardinal of Lorraine ; b. 1524, d. 1574. From a contemporary drawing of the Clouet school. Photo A . Giraudon.

4. Portrait of the Third Duke of Guise 262 ^

Henri le Balafre, third Duke of Guise ; b. 1550, d. 1588. From a contemporary portrait in the Louvre. Photo A. Giraudon.

5. Portrait of Antoine of Bourbon 264 ^

Antoine of Bourbon, King of Navarre ; 6. 1518, d. 1562. From a drawing by Frangois Clouet. Photo A. Giraudon.

5. Portrait of lyouis of Bourbon 264 ^

Louis of Bourbon, Prince of Cond^ ; b. 1530, d. 1569. From a drawing of the Clouet school. Photo A. Giraudon.

xix

¥10.

37. Portrait of Admirai. Coi^igny

Gaspard de Colignj-, Admiral of France ; b. 1517, d. 1572. From a drawing by Francois Clouet. Photo A. Giraudon.

38. Portrait of Jeannb d'Albret

Jeanne d'Albret, heiress of Navarre, mother of Henri IV ; b. 1528, d. 1572. From a drawing by Francois Clouet. Photo A. Giraudon.

39. Portrait of Catherine de Mi^dicis in 1561

B. 1519, d. 1589. From the portrait by, an unknown artist in the Bibliotheque Nationale. Photo A. Giraudon.

40. Henri IV in 1556

From a contemporary painting. Photo A. Giraudon.

41. Portrait of the Duke of Mayenne

B. 1554, d. 1 61 1. From a contemporary drawing. Photo A. Giraudon. .

42. Henri IV and Marie de Mfjdicis

From the medal by Dupre, which was struck in 1603 to commemorate their marriage. Henri IV was born in 1553 and died in 1610. Marie de M^dicis was born in * 1573 and died in 1642. Photo A. Giraudon.

43. Medai,i.ion Portrait of Maximiuen de Bejthune,

Duke of Sui,i.y

B. 1560, d. 1641. Photo A. Giraudon.

44. Henri IV at Chartres

From a painting in the Musee de Chartres by an unknown artist of the Flemish school. L. L. Photo.

45. lyEONORA GaI^IGAI

D. 'I617. From a contemporary portrait. From Larousse, " Histoire de France."

46. Portrait of Concini

Concino Concini, Mar^chal d'Ancre ; d. 161 7. From a drawing by D. Dumonstier. Photo A. Giraudon.

47. Portrait of Henri II de Bourbon, Prince of

Cond:^

B. 1588, d. 1646. From a painting by Michel Lasne. From Larousse, " Histoire de France."

XX

48. Portrait of Chari.es d'Ai^bert, Duke of IvUynes 316-

B. 1578, d. 1621. From a painting by Moncornet. From Larousse, " Histoire de France."

49. Portrait of lyouis XIII 322 ^

B. 1601, d. 1643. Collection Rischgitz.

50. Portrait OF Richei^ieu 328-

Armand-Jean du Plessis, Cardinal de Richelieu ; h. 1585, d. 1642. From an engraving by J. Lubin. Photo Mansell.

51. A Bird's-eye View of La Rocheli^e at the Time

OF THE vSlEGE OF 1627 332 -

The entrance to the basin for ships is defended by two towers, and there are fifteen others on the walls and a dozen bastions, in most instances constructed with retired flankers. From a print in the British Museum.

52. Portrait of the Great Condi^ 348 *"

Ivouis II, Prince of Conde ; h. 1621, d. 1686. Collection Rischgitz.

53. Portrait of Turenne 348

Henri de la Tour d'Auvergne, Viscount of Turenne, Marshal of France ; h. 1611, d. 1675. From a portrait by Charles lyebrun at Versailles. Collection Rischgitz.

54. Portrait of CardinaIv Mazarin 348

B. 1602, d. 1661. Engraved b}'^ Robert Nanteuil after Van

der Meulen. Collection Rischgitz. ^

55. Portrait of Cardinai. de Retz 348

Paul de Gondi, Cardinal de Retz ; h. 1614, d. 1679. Collection Rischgitz.

56. Portrait of Louis XIV 366 ^

B. 1638, d. 1715. From the portrait by Hyacinthe Rigaud in the lyouvre. Photo Alinari.

57. Portrait of Jean-Baptiste Coi^bert 374 '^

B. 1619, d. 1683. Engraved by Robert Nanteuil after Philippe de Champaigne. Collection Rischgitz.

58. Portrait of the Marquis of Louvois 374

Michel Le Tellier, Marquis of Louvois ; h. 1641, d. 169 1. Engraved by P. van Schuppen after C. le F^bure. Collection Rischgitz.

xxi y

Fltt.

59. Portrait ok Madame dk Maintenon

Fran9oise d'Aubign^, Marquise de Maintenon ; b. 1635, d. 1 7 19. From the painting by Nicolas Mignard at Versailles. Collection Rischgitz.

60. View of Paris in the Seventeenth Century

A section of the Pont-Neuf is seen in the middle distance. This runs from the right bank of the Seine to the Cite, and the view is therefore down the river from the Pont au Change. Beyond the bridge, on the right bank, is the Louvre. From a contemporary engraving in the Bibliotheque Nationale. From Larousse, " Histoire de France."

61. Portrait of Moliere

Jean-Baptiste Poquelin ; b. 1622, d. 1673. Photo Mansell.

62. Portrait of Racine

Jean Racine ; b. 1639, d. 1699. Photo Mansell.

63. Portrait of Bossuet

Jacques-Benigne Bossuet ; b. 1627, d. 1704. From a painting by Hyacinthe Rigaud in the Louvre. Photo Alinari.

64. Portrait of F^nelon

Fran9ois de Salignac de La Mothe-Fenelon ; 6. 165 1, f?. 171 5. Engraved by J. Thomson after a painting by Joseph Vivien in the Louvre.

65. Portrait of Philippe of Orleans

Philippe II of Orleans, Regent during the minority of Louis XV ; h. 1674, d. 1723. From an engraving by Ch6reau. From Larousse, " Histoire de France."

66. Portrait OF John Law

jB. 1671, d. 1729. From an engraving by Langlois. From Larousse, " Histoire de France."

67. Portrait of Cardinal Dubois

GuilTaume Dubois ; h. 1656, d. 1723. Prom an engraving by Roy. From Larousse, " Histoire de France."

68. Portrait of Cardinal Alberoni

Giulio Alberoni ; h. 1664, d. 1752. From an engraving in the Bibliotheque Nationale. From Larousse, " Histoire de France."

69. Portrait of Louis XV

B. 1 710, d. 1774. From the painting by C. van Loo at Versailles. Collection Rischgitz.

xxii

FIO. PAOE

70. Portrait of Madame dk Pompadour 448

Antoinette Poisson, Marquise de Pompadour ; b. 1721, d. 1764. From the painting by Fr. Boucher in the South Kensington Museum. Collection Rischgitz.

71. Portrait of Madame du Barry 448 ^

Marie- Jeanne Gomard de Vaubernier, Comtesse du Barry ; b. 1743, d. 1793. From the portrait by F. H. Drouais.

Collection Rischgitz.

72. Portrait of Louis XVI 456--

B. 1754, d. 1793. From the painting by Dum^nil at Versailles.

X Photo.

/3. Portrait of Marie- Antoinette 456-^

B. 1755, d. 1793. From an engraving by W. Greatbatch.

74. Portrait of Voi^taire 480 '^

Francois-Marie Arouet de Voltaire ; b. 1694, d. 1778. From the portrait by P.-M. Alix. Collection Rischgitz.

75. Portrait of Rousseau 480 "^

Jean-Jacques Rousseau ; b. 1712, d. 1778. From the bust by J. -A. Houdon in the I^ouvre. Photo A. Giraudon.

76. The BASTII.I.E 488 ^

From an engraving on copper published in 1777.

7. Portrait of Mirabeau 494 "

Honore-Gabriel Riquetti, Count of Mirabeau ; b. 1749, d. 1 79 1. From the pastel by Michel-Honor^ Bounieu.

'8. Portrait op Robespierre 494^

i Maximilien-Marie- Isidore de Robespierre ; b. 1758, d. 1794.

From a painting in the Chateau of Versailles. X Photo.

9. Portrait of Danton 494 -^

Georges- J acques Danton ; b. 1759, d. 1794. From a painting in the Camavalet Museum. Photo L4vy Fits (S- Cie.

0. Portrait of Marat 494 /

Jean-Paul Marat ; b. 1743, d. 1793. From a painting in the Camavalet Museum. Photo Ldvy Fils & Cie.

1. The Pai^ace of the Tuileries 540 ^

This drawing by J. Jacottet showsHhe palace as it existed in 1850. It was built on the site of an ancient pleasure house called the Hotel des Tuileries from the tile-factories

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{tuileries) which existed in the neighbourhood. Francois I bought this property as a present for his mother. The new palace was begun in 1564 for Catherine de M^dicis from the designs of Phihbert Delorme. Only the portion facing the garden was then erected, but it was continued and enlarged by successive architects till it formed a structure nearly a quarter of a mile in length, standing at right angles with the Seine. During the Revolution it became the seat of the execu.tive power, but it was again used as a royal residence under both the First and the Second Empire. It was burned by the Commune in 1871, and the remains, with the exception of two wings connected with 'the I^ouvre, were removed in 1883.

82. Portrait of Napoi^kon I 55^

Napoleon Bonaparte at St Helena. B. 1769, d. 1821. From the painting by James Sant, R.A. Copyright, Eyre (S- Spottiswoode, Ltd., I^ondon.