Whatever be the issue of a liaison which cannot probably be eternal, I have too much judgment and equity to deny the King the great talents which are his by nature, or to dispute the surname of Great which has been given him in his lifetime, and which the ages to come must surely preserve. But here I am writing secret Memoirs, where I set down, as in a mirror, the most minute traits of the personages whom I bring on the stage, and I wish to relate in what manner and with what aim this apotheosis affected the mind of those who flattered the prince in their own interest.
The painters and sculptors, most artful of courtiers in their calling, had already represented the King, now with the attributes of Apollo, now in the costume of the god Mars, of Jupiter Tonans, Neptune, lord of the waves; now with the formidable and vigorous appearance of the great Hercules, who strangled serpents even in his cradle.
His Majesty saw all these ingenious allegories, examined them without vanity, with no enthusiasm, and seemed to regard them as accessories inherent to the composition, as conventional ornaments, the good and current small change of art. The adulations of Racine, in his "Berenice," having all a foundation of truth, please him, but chiefly for the grace of the poetry; and he sometimes recited them, when he wished to recall and quote some fine verse.
The praises of Boileau, although well versified, had not, however, the fortune to please him. He found those verses too methodical for poetry; and the poet, moreover, seemed to him somewhat a huckster, and in bad taste. The satirists might do what they liked, they never had his friendship. Perhaps he feared them.
When Le Brun started preparing the magnificent cradle of the great gallery, he composed for the ceiling rich designs or cartoons, which in their entirety should represent the victories and great military or legislative achievements of the prince. His work being finished, he came to present it to his Majesty, who on that day was dining with me. In one of the compartments the painter had depicted his hero in the guise of Bacchus; the King immediately took up a bottle of clear water and drank a big glass. I gave a great peal of laughter, and said to M. le Brun, "You see, monsieur, his Majesty's decision in that libation of pure water."
M. le Brun changed his design, seeing the King had no love for Bacchus, but he left the Thundering Jove, and all the other mythological flatteries, in regard to which no opinion had been given.
The Jesuits for a long time past had groaned at seeing, exactly opposite the Palace,—[In the midst of the semicircle in front of the Palais de Justice. ]—in the centre of Paris, that humiliating pyramid which accused them of complicity with, or inciting, the famous regicide of the student, Jean Chatel, assassin of Henri IV. Pere de la Chaise, many times and always in vain, had prayed his Majesty to render justice to the virtues of his order, and to command the destruction of this slanderous monument. The King had constantly refused, alleging to-day one motive, to-morrow another. One day, when the professed House of Paris came to hand him a respectful petition on the subject, his Majesty begged Madame de Maintenon to read it to him, and engaged us to listen to it with intelligence, in order to be able to give an opinion.
The Jesuits said in this document that the Parliament, with an excessive zeal, had formerly pushed things much too far in this matter. "For that Jean Chatel, student with the Jesuit Fathers, having been heard to say to his professor that the King of Navarre, a true Huguenot, ought not to reign over France, which was truly Catholic, the magistrates were not, therefore, justified in concluding that that Jesuit, and all the Jesuits, had directed the dagger of Jean Chatel, a madman."
The petition further pointed out that "the good King Henri IV., who was better informed, had decided to recall the Society of Jesus, had reestablished it in all his colleges, and had even chosen a confessor from their ranks.
"This fearful pyramid,