第2章

The answer was written upon a paper like that upon which the questions had been set down.

The marquise turned pale and uttered a faint cry of terror; the answer was so perfectly correct in regard to the past as to call up a fear that it might be equally accurate in regard to the future.

The truth is that the unknown lady wrapped in a mantle whom we have escorted into the modern sibyl's cavern was no other than the beautiful Marie de Rossan, who before her marriage had borne the name of Mademoiselle de Chateaublanc, from that of an estate belonging to her maternal grandfather, M.Joannis de Nocheres, who owned a fortune of five to six hundred thousand livres.At the age of thirteen--that is to say, in 1649--she had married the Marquis de Castellane, a gentleman of very high birth, who claimed to be descended from John of Castille, the son of Pedro the Cruel, and from Juana de Castro, his mistress.Proud of his young wife's beauty, the Marquis de Castellane, who was an officer of the king's galleys, had hastened to present her at court.Louis XIV, who at the time of her presentation was barely twenty years old, was struck by her enchanting face, and to the great despair of the famous beauties of the day danced with her three times in one evening.Finally, as a crowning touch to her reputation, the famous Christina of Sweden, who was then at the French court, said of her that she had never, in any of the kingdoms through which she had passed, seen anything equal to "the beautiful Provencale." This praise had been so well received, that the name of "the beautiful Provencale" had clung to Madame de Castellane, and she was everywhere known by it.

This favour of Louis XIV and this summing up of Christina's had been enough to bring the Marquise de Castellane instantly into fashion;and Mignard, who had just received a patent of nobility and been made painter to the king, put the seal to her celebrity by asking leave to paint her portrait.That portrait still exists, and gives a perfect notion of the beauty which it represents; but as the portrait is far from our readers' eyes, we will content ourselves by repeating, in its own original words, the one given in 1667 by the author of a pamphlet published at Rouen under the following title: True and Principal Circumstances of the Deplorable Death of Madame the Marquise de Ganges:

[Note: It is from this pamphlet, and from the Account of the Death of Madame the Marquise de Ganges, formerly Marquise de Castellane, that we have borrowed the principal circumstances of this tragic story.

To these documents we ,must add-that we may not be constantly referring our readers to original sources-the Celebrated Trials by Guyot de Pitaval, the Life of Marie de Rossan, and the Lettres galantes of Madame Desnoyers.]

"Her complexion, which was of a dazzling whiteness, was illumined by not too brilliant a red, and art itself could not have arranged more skilfully the gradations by which this red joined and merged into the whiteness of the complexion.The brilliance of her face was heightened by the decided blackness of her hair, growing, as though drawn by a painter of the finest taste, around a well proportioned brow; her large, well opened eyes were of the same hue as her hair, and shone with a soft and piercing flame that rendered it impossible to gaze upon her steadily; the smallness, the shape, the turn of her mouth, and, the beauty of her teeth were incomparable; the position and the regular proportion of her nose added to her beauty such an air of dignity, as inspired a respect for her equal to the love that might be inspired by her beauty; the rounded contour of her face, produced by a becoming plumpness, exhibited all the vigour and freshness of health; to complete her charms, her glances, the movements of her lips and of her head, appeared to be guided by the graces; her shape corresponded to the beauty of her face; lastly, her arms, her hands, her bearing, and her gait were such that nothing further could be wished to complete the agreeable presentment of a beautiful woman."[Note: All her contemporaries, indeed, are in agreement as to her marvellous beauty; here is a second portrait of the marquise, delineated in a style and manner still more characteristic of that period:--"You will remember that she had a complexion smoother and finer than a mirror, that her whiteness was so well commingled with the lively blood as to produce an exact admixture never beheld elsewhere, and imparting to her countenance the tenderest animation; her eyes and hair were blacker than jet; her eyes, I say, of which the gaze could scarce, from their excess of lustre, be supported, which have been celebrated as a miracle of tenderness and sprightliness, which have given rise, a thousand times, to the finest compliments of the day, and have been the torment of many a rash man, must excuse me, if I do not pause longer to praise them, in a letter; her mouth was the feature of her face which compelled the most critical to avow that they had seen none of equal perfection, and that, by its shape, its smallness, and its brilliance, it might furnish a pattern for all those others whose sweetness and charms had been so highly vaunted;her nose conformed to the fair proportion of all her features; it was, that is to say, the finest in the world; the whole shape of her face was perfectly round, and of so charming a fullness that such an assemblage of beauties was never before seen together.The expression of this head was one of unparalleled sweetness and of a majesty which she softened rather by disposition than by study; her figure was opulent, her speech agreeable, her step noble, her demeanour easy, her temper sociable, her wit devoid of malice, and founded upon great goodness of heart."]