II. FRANÇOIS I.
The magnificent gallery which we are now about to enter had only just been completed, and formed the principal ornament of the palace, though it was subsequently eclipsed by another and yet more magnificent gallery reared by Henri II. The gallery of François I., which still exists, though reft of some of its ancient splendour, was of great length, admirably proportioned, and possessed a superb plafond, painted by the best Italian masters, and supported by a grand gilt cornice. The walls were adorned with colossal figures of goddesses and nymphs carved in oak, and between these statues were introduced admirable paintings. On either side were lofty windows with deep embrasures, embellished like the walls with carvings and paintings. The windows on the left looked on an exquisite orange-garden, while those on the right commanded a spacious court, with a fountain, a chef-d'ouvre of art, in the midst of it.
At the upper end of the grand gallery a brilliant party was now assembled. Chief among them, not merely in point of rank, but for his lofty stature, majestic and graceful deportment, and splendid habiliments, was François I. At this period, the king, who was still under thirty, was in the full éclat of his manly beauty. So lofty was his stature, that he towered above the tallest of his courtiers, and his person was strongly but admirably proportioned. With his remarkable physiognomy, rendered familiar by the breathing portrait of Titian, all are acquainted. All can conjure up that countenance, so handsome, intellectual, refined, haughty, sarcastic, of which perhaps the sole fault was that the principal feature was too prominent—a peculiarity which caused the monarch to be popularly surnamed François le grand nez. The king's eyes were dark and full of fire, and his clear skin was set off by a pointed beard. His brown locks were cut short, in consequence of a severe wound he had received on the head, and as a matter of course the fashion had been followed by his courtiers. His teeth were magnificent, and were constantly displayed, his countenance being rarely without a smile. His expression was jovial and good humoured, though somewhat proud and sarcastic; his deportment full of majesty, but he was so affable that he set all who approached him at ease. Familiarity, however, was never attempted with François, even by his greatest favourites. In a word, he fully merited the appellation to which he aspired, and which was universally bestowed upon him, of the First Gentleman in Europe.
François I. was not remarkable merely for his personal accomplishments and graces. His mental qualifications were of a very high order. If not erudite or profound, he was well read. He was fond of poetry, and was himself a poet. He delighted in romances of chivalry, “Lancelot du Lac,” “Garin le Lorrain,” and took for his model the peerless “Amadis de Gaule.” In consequence of his predilection for them, the favourite books with the gallants and dames of his court were “Gérard de Nevers,” “Pierre de Provence et la Belle Magueloune,” and “Petit Jehan de Saintré.” Not merely was François I. a lover of literature, and a patron of poets and men of learning, but he warmly encouraged the arts, and his court was frequented by the best painters, sculptors, and architects, whom he brought from Italy.
Endowed with some of the highest and noblest qualities, by nature frank, loyal, and chivalrous, though fiery and impetuous, passionately fond of war, and always thirsting for military renown, François was a perfect type of the nation over which he ruled, and next to Henri IV., who to a certain extent based himself upon him, is the best loved of the French monarchs. His splendid person and noble features, his kingly deportment, his accomplishments, his martial tastes, his courage, his address in the tilt-yard and in the management of arms of all kinds, pike, rapier, two-handed sword, his unequalled skill and grace in horsemanship, his jovial humour, his bonhomie, his devotion to the fair sex, are dwelt upon with satisfaction, and his faults overlooked or forgotten. The following poetical portrait of him is far too brightly coloured:
C'est luy qui a grâce et parler de maître,
Digne d'avoir sur tous droit et puissance,
Qui sans nommer, se peut assez connoître.