RAMBOUILLET is now a station on the railway between Versailles, Chartres, and Le Mans. It is a sunny little town, sloping to the south, in a sheltered hollow, over which the slanting roofs and conical turrets of the palace rise out of stately elms and spiked poplars. The principal faÇade of the chÂteau—which consists of two wings at right angles to each other, having at each corner a circular turret, surmounted by a spire—faces the mid-day sun. The ground lies low, and canals, extending in three directions, bordered by terraced walks and avenues, intersect the grassy lawns which lengthen into the tangled woodland of the surrounding forest. Opposite the chÂteau, on an islet, is a grotto called “La Marmite de Rabelais.” To the right, the three canals flow into a river, spanned by a low bridge, known as “the accursed bridge,” from some now obscure tradition foreboding evil to those who pass over it. On every other side, the trunks of venerable trees, their overarching branches closing above like a cloister—pillars of oak, elm, and ash—wind away into grassy meads and shady dingles, intersected by long rides cut straight through the forest, proper for the stag-hunts which have been held in this ancient manor since the Middle Ages.

The chÂteau itself has now been modernised, save where one ivy-crowned round tower (the donjon of the mediÆval fortress), in deep shadow, frowns an angry defiance to the stucco and whitewash of the flimsy modern faÇade.

It is the month of March, in the year 1547. Francis, attended by a small retinue, has arrived at the foot of this round tower. Coming from the south, he has crossed the river by “the accursed bridge.”

During the whole past year he has wandered from place to place, revisiting all his favourite haunts as though conscious that he is bidding them farewell. The restlessness of mortal disease is upon him. Though he flies from city to hamlet, from castle to palace, vainly seeking respite from pain, death haunts and follows him. His life is agony. He is greatly changed—an internal fever consumes him. His eyes are haggard; his face is thin, and his body emaciated. Only fifty-two years old, like his great rival the Emperor Charles, he is prematurely aged. Now he is half lifted from his coach and slowly led up a winding staircase to his apartments on the second floor by his friend James d’Angennes, to whose ancestors Rambouillet belonged. Francis comes from Chambord, where Marguerite, now Queen of Navarre by her second marriage, met him. Marguerite and her brother still cling to each other, but they are both aged and full of care. Her beauty is faded and her health is broken. Even she, though devoted as ever, cannot amuse Francis or dissipate the weight that oppresses his spirit. The old topics that were wont to delight him are irritably dismissed. He no longer cares for poetry, is wearied of politics, shrinks from society, and abuses women. It is at this time he writes with the point of a diamond, on the window of his closet at Chambord, these significant lines:—

He can only talk to his sister on sorrowful subjects: of the death by plague of his favourite son Charles, who caught the infection when sleeping at Abbeville; or of his old friend, Henry VIII. of England, who has also recently died.

The death of the latter seems to affect Francis terribly. “Our lives,” he says, “were very similar—he was slightly older, but I shall not long survive him.” Vainly does Marguerite combat these dismal forebodings. She laments in secret the sad change. Ever sympathetic with her brother, she, too, throws aside romance and poetry and composes “The Mirror of a Sinful Soul,” to suit his altered humour. Alas! what would Marguerite say if she knew what is carefully concealed from her? That the great surgeon ParÉ—ParÉ, who was afterwards to draw the spear-point from the cheek of the BalafrÉ—has pronounced that the King’s malady is hopeless!

After a short sojourn together at Chambord, the brother and sister part never to meet again.

Francis was to have passed the carnival at Limours, says Du Bellay; now he commands the masked balls and the court ballets to be held at Saint-Germain en Laye. The King’s fancy changes; he will rouse himself; he will shake off the horrible lethargy that is creeping over him; he will dismiss sinister presentiments. Disguised himself, he will dance among the maskers—the excitement will revive him.

But strong as is his will, high as is his courage, the mortal disease within him is stronger still. Suddenly he countermands all his orders. He will rather go to Rambouillet to visit his old friend, D’Angennes; to meet Rabelais perhaps, who loves the old castle, and to hunt in the great woods.

The quiet old manor, half hunting-lodge, half fortress, buried in secluded woods just bursting into leaf, where the wild boar and the stag are plentiful, will suit him better than banquets, balls, games, and boisterous revelry. The once dauntless Francis is grown nervous and querulous, and is painfully

conscious of the slightest noise. After a rapid journey he crosses the ill-omened bridge and arrives at Rambouillet. No sooner has he been laid in his bed than again his mind changes. He must rise and go to Saint-Germain, more suitable than Rambouillet in accommodation for his present condition. But the intense anguish he suffers renders his project impossible. Well, he will remain. He will rest one night here; then, he will depart. In the morning, says the same historian, he awakes at daylight, feeling somewhat better. He commands a royal hunt for stags and boars. Once more he hears the bugle of the huntsmen, the baying of the hounds, the tramp of the impatient steeds. The fresh morning air gives him fictitious strength. He rises from his bed, dresses himself, descends, forces himself on horseback and rides forth, defying disease and pain. Alas! he is soon brought back to the donjon tower and carried up the stairs speechless and in mortal agony to his bed. Fever and delirium ensue, but as the death shadows gather round him weakness clears his brain.

“I am dying,” says he, faintly, addressing D’Angennes, who never leaves him for an instant; “send for my son Henry.”

“Sire,” replies the Count, “his highness is already here.”

“Let him come to me at once; my breath fails me fast.”

The Prince enters and kneels beside the dying King. He weeps bitterly, takes his father’s already cold hand in his own and kisses it. Francis feebly returns the pressure. He turns his sunken eyes towards his son and signs that he would speak. Henry, the better to catch his words, rises and bends over him.

“My son, I have been a great sinner,” falters the dying King, “my passions led me astray; avoid this, Henry. If I have done well, follow that, not the evil.”

“Sire,” replies the Prince, “we all love and honour your Majesty.”

“Cherish France, my son,” continues the King; “it is a noble nation. They refused me nothing in my adversity, nor will they you, if you rule them rightly. Lighten the taxes, my son,—be good to my people.”

His voice grows fainter and less distinct, his face more ashen.

The Prince, seeing his lips move, but hearing no sound, lays his ear close to his father’s mouth.

“Commend me to Catherine, your wife; beware of the Guises; they will strip you; they are all traitors[6]; cherish my people.” He spoke no more.

The Prince motions to D’Angennes, and the parish priest with his acolytes enters, bearing the Host. Speechless, but conscious, with a look of infinite devotion, Francis receives the sacraments. Then, turning his dying eyes towards his son, he feebly raises his hands to bless him.

Henry, overcome by the sight of his dying father, sinks prostrate beside the bed. D’Angennes stands at the head, supporting his dying master in his arms; while he wipes the moisture from his forehead, Francis expires.