Forth he walks, a firm, short, stolid form, with falling shoulders beneath his tight, deep-blue frock. His tread is heavy rather than majestic,—that of a man who has a purpose in walking, not merely to show himself as a parade. His head is large, and formed with a perfection which we call classic; his features are noble, modelled by that hand of Nature which framed this man "fearfully," indeed, and "wonderfully." Nothing was ever finer than his mouth—nothing more disappointing than his eye; it is heavy, almost mournful. His face is pale, almost sallow, while—let one speak who beheld him—"not only in the eye, but in every feature, care, thought, melancholy, and meditation are strongly marked, with so much of character, nay, genius, and so penetrating a seriousness, or rather sadness, as powerfully to sink into an observer's mind."
It is the countenance of a student, not of a warrior; of one deep in unpractical meditation, not of one whose every act and plan had then been but a tissue of successes. It is the face of a man wedded to deep thought, not of the hero of the battle-field, the ruler of assemblies; and, as if to perfect the contrast, whilst all around is gorgeous and blazing, he passes along without a single decoration on his plain dress, not even a star to mark out the first consul. It is well; there can but be one Napoleon in the world, and he wants no distinction.
He is followed by diplomatists of every European power, vassals, all, more or less, save England; and to England, and to her sons and daughters, are the most cherished courtesies directed. Does not that recall the present policy?
By his side walks a handsome youth whom he has just been presenting to the Bavarian minister,—that envoy from a strange, wild country, little known save by the dogged valour of its mountaineers. The ruler of that land, until now an elector, has been saluted king by Napoleon the powerful.
On the youth, who addresses him as mon pèr, a slight glance is allowed even from those downcast eyes which none may ever look into too full. Eugène Beauharnais, his stepson, the son of his ever-loved Josephine, has a place in that remorseless heart. "All are not evil." Is it some inkling of the parental love, is it ambition, that causes the first consul to be always accompanied by that handsome youth, fascinating as his mother, libertine as his stepfather, but destitute at once of the sensibilities of the former and of the powerful intelligence of the latter?
It is on him—on Eugène Beauharnais—that the hopes of the proud Duchess of Gordon rest. Happily for her whom she would willingly have given to him as a bride, her scheme was frustrated. Such a sacrifice was incomplete.
Look now from the windows of that gallery; let your gaze rest on the parade below, in the Rue de Rivoli, through which Buonaparte is riding at the head of his staff to the review. He has mounted a beautiful white horse; his aids-de-camp are by his side, followed by his generals. He rides on so carelessly that an ordinary judge would call him an indifferent equestrian. He holds his bridle first in one hand, then in another, yet he has the animal in perfect control; he can master it by a single movement. As he presents some swords of honour, the whole bearing and aspect of the man change. He is no longer the melancholy student; stretching out his arm, the severe, scholastic mien assumes instantly a military and commanding air.
Then the consular band strike up a march, and the troops follow in grand succession toward the Champs Élysées. The crowds within the gallery disappear; I look around me: the hedges of human beings who had been standing back to let the hero pass, are broken, and all are hurrying away. The pages are lounging; the aids-de-camp are gone; already is silence creeping over that vast gallery of old historic remembrances. Do not our hearts sink? Here, in this centre window, Marie Antoinette showed her little son to the infuriated mob below. She stood before unpitying eyes. Happier had it been for him, for her, had they died then. Will those scenes, we thought, ever recur? They have—they have! mercifully mitigated, it is true; yet ruthless hands have torn from those walls their rich hangings. By yon door did the son of Égalité escape. Twice has that venerable pile been desecrated. Even in 152, when crowds hastened to the first ball given by Napoleon III., he traces of the last revolution were pointed out to the dancers. They have darkened the floors; all is, it is true, not only renovated, but embellished, so as to constitute the most gorgeous of modern palaces; yet for how long?
It is, indeed, in mercy that many of our wishes are denied us. Eugène Beauharnais was even then, destined to a bride whom he had never seen, the eldest daughter of that Elector of Bavaria to whom Buonaparte had given royalty; and the sister of Ludwig, the ex-King of Bavaria, was the destined fair one. They were married; and she, at all events, was fond, faithful, nay, even devoted. He was created Duke of Leuchtenberg, and Marie of Leuchtenberg was beautiful, majestic, pious, graceful; but she could not keep his heart. So fair was she, with those sweet blue eyes, that pearl-like skin, that fine form, made to show off the parures of jewels which poor Josephine bequeathed to her—so fair was she, that when Buonaparte saw her before her bridal, he uttered these few words, "Had I known, I would have married her myself." Still she was but second, perhaps third, perhaps fourth ('tis a way they have in France) in his affections; nevertheless, when he died,—and it was in his youth, and Thorwaldsen has executed a noble monument of him in the Dom Kirche at Munich,—when that last separation came, preceded by many a one that had been voluntary on his part, his widow mourned, and no second bridal ever tempted her to cancel the remembrance of Eugène Beauharnais.
For Lady Georgiana Gordon, a happier fate was reserved. She married, in 1803, John, the sixth Duke of Bedford, a nobleman whose character would have appeared in a more resplendent light had he not succeeded a brother singularly endowed, and whose death was considered to be a public calamity. Of Francis, Duke of Bedford, who was summoned away in his thirty-seventh year, Fox said: "In his friendships, not only was he disinterested and sincere, but in him were to be found united all the characteristic excellencies that have ever distinguished the men most renowned for that virtue. Some are warm, but volatile and inconstant; he was warm too, but steady and unchangeable. Where his attachment was placed, there it remained, or rather there it grew.... If he loved you at the beginning of the year, and you did nothing to lose his esteem, he would love you more at the end of it; such was the uniformly progressive state of his affections, no less than of his virtue and friendship."