King Ferdinand's rooms, on the contrary, were never empty. He had lost his faithful wife, Anna of Bohemia, in January, but his son and daughter were lavish in dispensing their father's hospitality. Like his sister Mary, Ferdinand was very fond of music, and enjoyed listening to his fine Kapelle, while one of his favourite jesters was always present to amuse the Electors and Princesses at his table.[401] His son, the Archduke Max, as Ascham calls him, was a gay and pleasant gentleman, "of goodly person and stature," speaking eight languages, and very popular with all classes, especially the Lutherans, whose opinions he was supposed to affect. Charles's other nephew, Emanuel Philibert, the Prince of Piedmont, was another gallant squire of dames, as ready to take part in masque and dance as he was foremost in active warfare. Every evening there was music and dancing in the King's rooms, and the old halls of the merchants rang to the sound of laughter and melody. In that joyous throng the Countess Palatine was the gayest of the gay, and Christina forgot her sorrows to become young once more.
1548] THE MARQUIS ALBERT
There was one man among the Princes assembled at Augsburg who gazed with frank admiration at the handsome Duchess; this was the Marquis Albert of Brandenburg, Lord of Culmbach and Burgrave of Nuremberg. While still a boy he succeeded to his father's principality in Franconia, and was educated by his uncle, the Duke of Prussia and Grand-Master of the Teutonic Order. Although brought up a Lutheran, he entered the Emperor's service before he was twenty, and fought gallantly in the wars of Cleves and Champagne. A wild and reckless spirit, who rode hard, drank deep, and knew no fear, Albert was adored by his soldiers, whose toils and hardships he shared with cheerful courage, while his name was the terror of all peaceful citizens. "Thunder and lightning, devouring fire," wrote a contemporary, "are not more terrible than the Marquis Albert on the battle-field."[402] But there was a fascination about this ruthless dare-devil which no woman could resist. His sisters were passionately devoted to him, and Bona, the Queen of Poland, tried in vain to marry him to one of her daughters. Roger Ascham describes him as
"another Achilles, his face fair and beautiful, but stern and manly, with flowing locks and great rolling eyes, yet with a sad, restless look, as if he was ever seeking what he could not find. A man of few words withal, but with a deep, strong voice, ever more ready to hear than to speak."[403]
There seemed no heights to which this soldier of fortune could not aspire. The Emperor treated him with fatherly affection, and the Queen and the Duchess of Lorraine honoured the sumptuous banquets, in which he displayed his usual prodigality, careless of the debts with which he was already loaded.
Once more rumour was busy with Christina's name. The Marquis Albert proclaimed himself her devoted servant, and her marriage with the young King Sigismund of Poland was seriously discussed at Augsburg. This monarch's wife, the Archduchess Elizabeth, had died before his accession, and his sister, the Electress Hedwig of Brandenburg, was eager to bring about a union between him and the Duchess of Lorraine;[404] but, as usual, these rumours ended in smoke, and the only marriage announced at Augsburg was that of the Archduke Max and his cousin the Infanta Maria of Spain, an alliance which had long been privately arranged.
June, 1548] THE INTERIM
Early in the New Year another distinguished person arrived at Augsburg, in the person of the great Venetian master, Titian. He came in obedience to an urgent summons from the Emperor, and during the next few months painted a magnificent series of portraits, including those of Charles and Ferdinand, the captive Elector of Saxony, Chancellor Granvelle, his wife, and his son, the Bishop of Arras, who was a great admirer of Titian's art. Fourteen years before, this same master had taken Christina's portrait, when she came to Milan as the youthful bride of Francesco Sforza; now he saw her again in the flower of her womanhood, and, had opportunity offered, would doubtless have painted her again. But disquieting rumours of unrest on the frontiers of Lorraine reached Augsburg, and on the 16th of February the Duchess set out on her return to Nancy. The Emperor gave his niece a costly ring as a parting present, and Archduke Max, the Marquis Albert, the Prince of Piedmont, together with the Countess Palatine and the Princess of Orange, escorted her some leagues on her way. When, a month later, the Queen of Hungary left Augsburg, she paid Christina a visit at Nancy, bringing with her Anne of Lorraine and William, the young Prince of Orange, a promising boy of fifteen, who was being educated at Court, and met with a kindly welcome from the Duchess and her subjects for the sake of the lamented Prince whose name he bore.[405] By Mary's advice, the Regents took active measures for the defence of the frontier and the fortification of Nancy. An arsenal was founded, and two bastions, which became known as those of Denmark and Vaudemont, were built near the palace. Other improvements were carried out at the same time: the marshy ground under the walls was thoroughly drained, and converted into a spacious square called La Place de la Carrière; many of the streets were paved and widened; and the Count of Salm, Bassompierre, and several of the nobles, built fine new houses along the Grande Rue, opposite the Galerie des Cerfs.[406]
Photo Hanfstaengl