“Ho, every one that thirsteth, come ye to the waters, and he that hath no money.”—Isa. lv. 1.

In the year 1547, Henry II. ascended the throne of France. With the intrigues of the court it is not our province to intermeddle; but from the fierce contests waged during that stormy period, our story cannot be dissevered. There were four principal factions, each pledged to the interests of a distinct chief, of whom the most influential were the celebrated constable, Anne de Montmorency, and his great rivals of the house of Guise. The constable was a personage of supreme importance, possessing enormous wealth, and raised to the pinnacle of power. As he became, in course of time, one of the chief patrons of that skill which Palissy was acquiring at the cost of so much toil and suffering, a slight sketch of this famous man, who stands out as one of the giants of the ancient monarchy, will not be misplaced here.

In early life he had gained a powerful influence over the mind of Francis I., which he long retained, and on the death of that monarch he stood high in favour with his successor, Henry II. Faithful to the interests of the throne and of his country, valiant in arms, possessed of intrepid courage, and resolute in the maintenance of what he believed right, he was, nevertheless, full of terrible blemishes and errors. He was an austere man, hard and rugged, rough and ungracious in manner, stern in his resolves, and fearful in the severity of the punishments he inflicted.

One of the first acts of the new king was to issue an edict confirmatory of religious penalties. A blasphemer was to have his tongue pierced with a hot iron, but all heretics were to be burned alive. The spirit of this sanguinary enactment was completely in harmony with the fierce bigotry which formed one of the distinguishing traits of Montmorency’s character. So great was his zeal against the heretics that he received on one occasion the nickname of “Captain Bench-burner,” because he made bonfires of the pulpits and benches taken from the churches of the Calvinists. Such was the man who now undertook the suppression of a revolt which broke out among the inhabitants of Saintonge and the surrounding districts. The occasion of this disturbance was the oppressive character of the new salt tax, which heavily burdened the poor country-people, who were consequently the first to take up arms and drive out the officers of the gabelle. In a short time the excitement spread. Pillage, fire, and massacre abounded, and the insurrection extended to Bordeaux, which became the head-quarters of the disaffected. Montmorency marched in person against the inhabitants of the disturbed districts, and wherever he went he erected gibbets and inflicted horrible punishments.

The inhabitants of Saintes had now something to divert their thoughts from the doings of Palissy. They trembled as they heard of the tremendous scenes enacted at Bordeaux, where the stern marshal, disdaining to accept the keys of the town, marched his troops into it as a triumphant enemy, and presently put to death one hundred citizens in its great square; at the same time compelling the magnates of the town to dig up with their nails the body of the royal governor, who had been slain in one of the recent tumults. Having inflicted this summary vengeance at Bordeaux, Montmorency advanced through Saintonge, resting, on his route, at Pons, a town not far from Saintes, where resided the king’s lieutenant for that department, who was also the Count of Marennes, the famous salt district. This nobleman, Sire Antoine de Pons, and his lady, Anne de Parthenay, were among the earliest and staunchest friends and patrons of Palissy. It was at their chÂteau he saw the cup of “marvellous beauty,” which had acted as a talisman to elicit his genius; and from them he had frequently received commissions for various works of art. The “Dame Pons” was, especially, a lover of gardens, and delighted in floriculture. Scarcely could she have found another so admirably suited to give her assistance in her favourite pursuit as Palissy, whose congeniality of taste in this matter caused him in after days to say, “I have found in the world no greater pleasure than to have a beautiful garden.”

Palissy relating his failures to Lady Anne

It chanced at the time when Montmorency came to Pons, that Bernard was engaged at the chÂteau of the Sire Antoine, in designing some panels and decorations, as well as in laying out the pleasure grounds. He had suffered another disappointment in his darling object, even more overwhelming than all previous ones, and had been again driven to a temporary renunciation of its pursuit. The narrative of his toils and struggles had been drawn from him by the gentle-hearted lady, who, as she marked with discerning eye the exquisite skill and taste of Palissy, became interested to learn somewhat of his history. He told her, in his own strong and simple language, all that had befallen him from the day when her lord had shown him the Italian cup. Alas! his latest trial, like all the others had proved a failure, and (as he declared) “his sorrows and distresses had been so abundantly augmented,” that he lost all countenance.

“And yet,” said the lady Anne, as she listened to his tale, “you assure me, that on this last occasion you had been right in every one of your calculations, and that the enamel was so correctly mixed, and the furnace so well ordered, that one single day was sufficient for the melting. How, then, did you fail?”

“From this unforeseen accident,” said Palissy; “the mortar of which I had erected the furnace, had been full of flints, which burst with the vehement heat, at the same time that the enamels began to liquefy; and the splinters, striking against the pottery, which was covered with the glutinous matter, became fixed there. Thus, all the vessels, which otherwise would have been beautiful, were bestrewn with little morsels of flint, so firmly attached to them that they could not possibly be removed. The distress and embarrassment I felt from this new and unforeseen disaster exceeded all I had before experienced. The more so that several of my creditors, whom I had held in hope to be paid out of the produce of these pieces, had hastened to be present at the drawing of my work, and now seeing themselves disappointed of their long delayed expectations, departed in blank dismay, finding their hopes frustrated.” “Were there none of your pieces that had escaped injury?” “None, madame; it is true, though they were all more or less blemished, they would hold water, and there were some who would have bought them of me at a mean price, but because that would have been a decrying and abasing of my honour, I broke in pieces the entire batch from the said furnace, and lay down in melancholy—not without cause, for I had no longer any means to feed my family. After a while, however, reflecting that if a man should fall into a pit, it would be his duty to endeavour to get out again, I, Palissy, being in like case, resolved to exert myself in making paintings, and in various ways taking pains to recover a little money.” “A wise resolve,” replied the lady; “and one in which it will be in my power to assist you. But hark! there sounds a horn, which I know to be that of my lord, and it announces his approach, accompanied by Monseigneur, the duke de Montmorency. An idea strikes me; his highness has great taste for ornamental art; his patronage would secure the fortune of one who possesses your skill in designing. Bring hither to-morrow your paintings and sketches of animals, foliage, and groups, not forgetting the designs of your vases, and I will take occasion to present them to the notice of Monseigneur.”

The lady was as good as her word; and, as she had foreseen, Montmorency was struck with the marks of genius perceptible even in these early and imperfect productions of the great artist, and he immediately decided to afford Palissy an opportunity of exercising his talents in his service.

In this manner did the great constable first become acquainted with Palissy. A few years later he was intrusted with important charges in the pot decoration of the celebrated chÂteau d’Écouen, one of the most famous architectural works of France in that day.

The building of this chÂteau, distant about four leagues from Paris, had been one of the principal amusements of the wealthy marshal, during his seasons of forced leisure, when the sunshine of royal favour had deserted him. The architect employed upon it was Jean Bullant, who afterwards enjoyed the patronage of Cathurine de Medici, and assisted in the building of the Tuilleries. Of the work contributed by Palissy towards the decoration of the chÂteau, nothing remains in the present day but the beautiful pavement in the chapel and galleries. Much time was employed by him in the painting and enamelling of the decorated tiles which compose this pavement. The designs were all his own, of subjects taken by him from the Scriptures, very highly finished, and so admirably arranged and contrived as to give to the whole a surprisingly rich effect of beautiful colouring, surpassing, it is said, that of the finest turkey carpeting.

In one part of the sacristy the passion of our Lord was represented upon pottery, in sixteen pictures, in a single frame, copied from the designs of Albert Durer, by the hand of Palissy. Of this piece, and of another painted by him on glass, representing the history of Psyche, after the designs of Raffaelle, there remain only representations upon paper. [58] Of all the windows of Écouen, Palissy is also said to have been the painter; nor must we omit to mention that in a grove of the garden there was formerly a fountain, called “Fontaine Madame,” to which was attached a rustic grotto, of which Palissy always spoke with pride, as one of the chief triumphs of his handiwork. His skill and ingenuity were exerted in the adornment of the grotto; and the rock from whence the cascade fell was a grand specimen of his painted pottery. Figures of frogs and fishes were placed in and about the water, lizards were upon the rock, and serpents were coiled upon the grass. And, that devout thoughts might be awakened in the breasts of those who came to enjoy the sweets of this pleasant retreat, its pious artificer had contrived that on a rustic frieze, should be inscribed in a mosaic, formed with various coloured stones, the text we have chosen as the motto of this chapter.

“HO, EVERY ONE THAT THIRSTETH, COME YE TO THE WATERS.”

Probably the formation of the fountain, and the arrangements made for its supply, were suggested by Palissy, whose acute observation in the study of nature had, by that time, led him to the discovery of the true theory of springs. “I have had no other book than heaven and earth, which are open to all,” he was wont to say, and upon all subjects connected with the study of that marvellous volume, Palissy was assuredly far in advance of the men of his time. He delighted in grottoes and fountains of waters, and his inquiry into the sources of natural fountains conducted him to the true solution of an enigma which baffled all the skill of Descartes. [60]

We are, however, antedating the course of this narrative. At the time of Palissy’s introduction to the constable, he was about forty years old, and his labour to discover the enamel ware had been spread over a period of some eight years. It cost him eight years more during which he endured great toil and numerous mishaps, before he attained full perfection in the moulding and enamelling of ornamental pottery. But from this time he did not lack patronage, and business was always to be obtained sufficient for the supply of household necessities. We shall presently have occasion to return with him again to the detail of his trials and struggles, and to hear of privation and distress yet to be endured in the prosecution of the object of his ambition. But first we are about to see him in a new aspect, and it will be necessary to interrupt the story of his toil in the pursuit of art, while we dwell upon some other facts in his history, by which his mind was exercised, and his character, as a man and a Christian, formed and illustrated.