HER CHARACTER.
There is no proof that Philip was, at any time, displeased with the conduct of his queen, or that he regarded his son in the light of a rival. Least of all is there anything in the history of the time to show that he sacrificed his wife to his jealousy.[1576] The contrary is well established by those of her own countrymen who had free access to her during her lifetime,—some of them in the hour of her death,—whose correspondence with her family would not have failed to intimate their suspicions, had there been anything to suspect.
Well would it be for the memory of Philip the Second, could the historian find no heavier sin to lay to his charge than his treatment of Isabella. From first to last, he seems to have regarded her with the indulgence of an affectionate husband. Whether she ever obtained such an ascendancy over his close and cautious nature as to be allowed to share in his confidence and his counsels, may well be doubted. Her temper would seem to have been too gentle, too devoid of worldly ambition, to prompt her to meddle with affairs for which she was fitted neither by nature nor education. Yet Brantôme assures us, that she exercised a most salutary influence over her lord in his relations with France, and that the value of this influence was appreciated in later times, when the growing misunderstandings between the two courts were left to rankle, without any friendly hand to heal them.[1577] "Her death," he continues, "was as bitter to her own nation as it was to the Spaniards; and if the latter called her 'the Queen of Peace and Goodness,' the former with no less reason styled her 'the Olive-branch.'"[1578] "But she has passed away,"[{500}] he exclaims, "in the sweet and pleasant April of her age,—when her beauty was such that it seemed as if it might almost defy the assaults of time."[1579]
The queen occupies an important place in that rich gallery of portraits in which Brantôme has endeavored to perpetuate the features of his contemporaries. In no one of them has he traced the lineaments with a more tender and delicate hand. Even the breath of scandal has had no power to dim the purity of their expression. Of all that illustrious company which the artist has brought in review before the eyes of posterity, there is no one to whom he has so truly rendered the homage of the heart, as to Elizabeth of France.
But from these scenes of domestic sorrow, it is time that we should turn to others of a more stirring and adventurous character.
END OF VOLS. I. AND II.
LONDON C. WHITING, BEAUFORT-HOUSE, DUKE-STREET, LINCOLN'S-INN-FIELDS.
FOOTNOTES:
[1] It is gratifying to learn that before long such a history may be expected,—if, indeed, it should not appear before the publication of this work,—from the pen of our accomplished countryman, Mr. J. Lothrop Motley, who, during the last few years, for the better prosecution of his labors, has established his residence in the neighborhood of the scenes of his narrative. No one acquainted with the fine powers of mind possessed by this scholar, and the earnestness with which he has devoted himself to his task, can doubt that he will do full justice to his important, but difficult subject.