What They Said Saturday: "Happily, grief increased my illness..."

'What They Said' Saturday: a day for quotations of all kinds, including excerpts from letters written by Marie Antoinette and her contemporaries, memoirs, non-fiction, novels and everything in between.

 

[image credit: Bibliothèque nationale de France, département Estampes et photographie]

After the death of Louis XVI, the royal family was left behind in the Temple prison to a yet undetermined fate. For a time, it seemed that the royal family would be sent out of France--or that, at least, is what Marie-Thérèse Charlotte recalled due to the behavior of their guards. Despite the potential for freedom, the newly widowed Marie Antoinette sank into despair. It was only her daughter's illness that helped distract her from the pain and anxiety caused by the loss of her husband and the agonizing question: what was going to happen to them?

Marie-Thérèse Charlotte wrote in her memoir:

"We now had a little more liberty, the guards thinking we were about to be sent away. But nothing was able to calm the anguish of my mother–we could make no hope of any sort enter her heart; she was indifferent whether she lived or died. She looked at us sometimes with a pity that made us shudder. Happily, grief increased my illness, and that occupied her. My own doctor, Brunier, and the surgeon La Caze were brought, and they cured me in a month."

What They Said Saturday: "The great ladies of the Restoration evolved a romantic heroine out of the 'Orphan of the Temple'..."

'What They Said' Saturday: a day for quotations of all kinds, including excerpts from letters written by Marie Antoinette and her contemporaries, memoirs, non-fiction, novels and everything in between.

"The great ladies of the Restoration evolved a romantic heroine out of the “Orphan of the Temple,” but when they discovered that in spite of her natural dignity she lacked grace of manner, they made few excuses for a Princess who at the most crucial time of life, when other children of her rank were receiving careful instruction to fit them for the duties awaiting them, was left to the anguish and terror of complete solitude." 

--Mary Frances Sandars, Louis XVIII, 1910

The separation of Louis Charles from his family: July 3rd, 1793.

 [image: Bibliothèque nationale de France, département Estampes et photographie]

On July 3rd, 1793, a decree from the Convention ordered the separation of Louis Charles from the rest of his family. An account of this day written by his sister, Marie Therese, describes the suffering of this separation:

‘On the 3d of July, they read us a decree of the Convention ordering that my brother be separated from us and lodged in a more secure room in the Tower. Hardly had he heard it when he flung himself into his mother’s arms uttering loud cries, and imploring not to be parted from her. My mother, on her side, was struck down by the cruel order; she would not give up her son, and defended, against the municipals, the bed on which she placed him.They, absolutely determined to have him, threatened to employ violence and to call up the guard.
My mother told them they would have to kill her before they could tear her child from her. An hour passed in resistance on her part, in threats and insults from the municipals, in tears and efforts from all of us. At last they threatened my mother so positively to kill him and us also that she had to yield for love of us.
We rose, my aunt and I, for my poor mother no longer had any strength, but after we had dressed him she took him and gave him into the hands of the municipals herself, bathing him with tears and foreboding that she would never see him again. The poor little boy kissed us all very tenderly and went away in tears with the municipals.’

Museum Sunday: A nightlight owned by the duchesse d'Angoulême

Museum Sunday: a day for highlighting objects, books, and other items from the collections and lives of Marie Antoinette and her contemporaries.

 [image credit: Chez Osenat, via Auction.fr]]

This Sèvres vase-style veilleuse (a type of night light) depicts the pavilion de Breteuil, an estate which had by the time of the painting been integrated into the Chateau de Saint-Cloud. The pavilion de Breteuil was reintegrated into the over-arching estate of the chateau de Saint-Cloud in 1793, when the original owner's property was declared property of the state. This particular veilleuse was purchased on October 2nd, 1822 by the duchesse d'Angoulême for 400 francs. 

'Meek child of sorrow': Consolatory Verses for the Duchesse d'Angouleme

Sir Herbert Croft (1 November 1751 - 26 April 1816) was an English-born author who was best known for his proposed English dictionary and his popular novel, 'Love and Madness, a Story too true, in a series of letters between Parties whose names could perhaps be mentioned were they less known or less lamented.' Although Croft's proposed dictionary never got off the ground, his novel--which many people thought was a real collection of letters--was fairly successful.

In 1814, Croft composed and published the following 'Consolotary verses' to Madame, the ducehsse d'Angouleme, who had been newly restored to France with the rest of her family. The verses were published after May 30th, 1814, the signing of the Treaty of Paris. Croft dedicated these verses to George III, the prince regent of England, as a "small mark of gratitude for the favours conferred ... through a long series of year.' What these favours are, exactly, is unknown.

The complete versions can be read for free on Google Books. I've transcribed a small excerpt below.

Meek child of sorrow, whose still-wearied eyes
Stream over such unusual miseries!
Lov'd, royal Lady, whom, we, all, confess
Virtue has mark'd, ev'n more than wretchedness!
I don't deny the sources of your grief;
But let a stranger try to lend relief.
Stranger! yet Hartwell's bow'rs and allies know
You do not term the British muses so.

'Twas there the muse of Young consol'd your mind;
And made it, if more sad, still more resign'd:
There Thomson prov'd how each kind season fills
The world with charms, that balance life's worst ills:
There Rogers taught your tender soul to see
The pleasures, sadly sweet, of memory;
Which, sometimes, in a visionary trance,
Hurried your rapt thoughts back to your lov'd France.

You're, now, come back to your lov'd country; brought
by God himself, and not in airy thought.
Much-injur'd victim! may, on this blest day,
Oblivion's waters wash all tears away!
But that I know forgiveness is the tie
Which to their France binds all your family;
I'd speak of the fond words Religion lent
To France's martyr, in his testament.
He charg'd the seventeenth Lewis to "forgive,
"If they should let the royal infant live;
"If he should ever be condemn'd to drain
"The cup of human misery, and reign."
See who consents to fill that infant's throne,
Of which the cares and miseries are known;
Throne, stain'd with so much blood, so many years,
But wash'd, at least, with a whole nation's tears.

Forgive! Yes, he and every Bourbon do:
Oh! that you could forget, sad daughter, too!
Forgive! Yes, exil'd; years and years ago,
You, all, forgave each author of your woe.
Two brothers, yes and you, forgiving maid,
For France, each weeping night and morning, pray'd.
Yes, you evne pray'd that they might pardon'd be,
Who murder'd more than half your family.

Upcoming Release: Faces of the Dead by Suzanne Weyn

There's an intriguing historical fiction book coming out from Scholastic Press at the end of this coming August featuring Marie Thérèse as the protagonist!

credit: Amazon.com

Synopsis (via Amazon.com):

When Marie-Thérèse Charlotte of France learns of the powerful rebellion sweeping her country, the sheltered princess is determined to see the revolution for herself. Switching places with a chambermaid, the princess sneaks out of the safety of the royal palace and into the heart of a city in strife.

Soon the princess is brushing shoulders with revolutionaries and activists. One boy in particular, Henri, befriends her and has her questioning the only life she’s known. When the princess returns to the palace one night to find an angry mob storming its walls, she’s forced into hiding in Paris. Henri brings her to the workshop of one Mademoiselle Grosholtz, whose wax figures seem to bring the famous back from the dead, and who looks at Marie-Thérèse as if she can see all of her secrets. There, the princess quickly discovers there’s much more to the outside world - and to the mysterious woman’s wax figures - than meets the eye.

I'm not sure how the Madame Tussaud mystery will play out, especially since the book isn't too long, but the premise of the "royal switch" sounds interesting!

I was your king's daughter: the poetry of Marie Thérèse Charlotte in captivity

As her family members were taken from her, one by one, the young Marie Thérèse Charlotte began to suffer increasingly isolated and strict prison conditions. After her aunt Elisabeth was taken from her, Thérèse was denied both her request for a female companion to stay with her and her frequent requests to be allowed to see her young brother. Small comforts, such as a tinder box to light the small stove in her room, were taken away and she was subject to submit to room searches at any time of the day or night.

This strict imprisonment did not last forever. As the harsher restrictions on the imprisoned Marie Thérèse began to be lifted, the young teenager was allowed to request small comforts such as additional books to read, paper and writing tools which had been previously denied her. During this period, she began to write her memoirs about her experiences during the revolution.

She also wrote poetry that expressed her hopes, fears, feelings and the experiences of her imprisonment. Original manuscripts of at least some of Madame Royale's poetry were kept in the family of Madeleine Bocquet-Chanterenne, a young woman who was sent to be the teen's companion. Thérèse affectionately referred to her as her 'dear Renète.'

The following are some excerpts from translations of some of the poetry that Marie Thérèse wrote during her imprisonment in the Temple and were kept by the family of Madeleine Bocquet-Chanterenne. Although simply written, her words reflects the pain and sorrow that the young girl experienced in her often terrifying and lonely captivity.

I was your king's daughter
separated from all my family.
I languish in this sad jail
Alas! I say with good reason
Even though I am alone and sad
My jail would appear happy to me

If I was in this place with my brother.

--

To my mother, to the Conciergerie
I asked to be reunited
But as an answer, my jailers
Say: this has nothing to do with us.
Spread your blessings on her,
God! Open promptly your jail.

--

A short time ago, at night
I was sleeping peacefully in my bed.
I got suddenly woken up
By the enraged noise of my locks.
They were coming to my door, they were knocking.
I replied immediately: who is there?
I was asked to open up, I replied:
I am getting up and leaving my bed.
I was hoping that I would get out,
I was expecting to leave the tower.
I go to the door, I finally open it!
They come in with my jailer
I look at them, hoping they would ask me
to follow them and come.
But alas! They stare at me
And suddenly without saying a word, they go out with my jailer.

A set of miniatures of the royal family

I'm always browsing eBay for something that catches my eye, and this antique decorative screen certainly grabbed my attention! The screen, believed to be French, features four hand painted portrait miniatures of the French royal family.

I'm not always a fan of 19th century reproduction miniatures, since the details of the originals are often lost or muted, but I love how the softer colors in these miniatures are complimented by the pattern of the screen and the gold frame.

credit: ebay

More details of the set, including individual portrait details, can be found at the original auction page.

The Seperation of the Dauphin from Marie Antoinette by Princess Alice, Grand Duchess of Hesse & by Rhine

A composition of the terrible scene of July 3rd, 1793, when the young Louis Charles was separated from his mother and his family. This piece was completed in 1858 by Princess Alice, the second daughter of Queen Victoria.

credit: Royal Collection © Her Majesty Queen Elizabeth II

From the account of the duchesse d'Angoulême:

On the 3d of July, they read us a decree of the Convention ordering that my brother be separated from us and lodged in a more secure room in the Tower. Hardly had he heard it when he flung himself into his mother's arms uttering loud cries, and imploring not to be parted from her. My mother, on her side, was struck down by the cruel order; she would not give up her son, and defended, against the municipals, the bed on which she placed him. They, absolutely determined to have him, threatened to employ violence and to call up the guard. My mother told them they would [Page 267]  have to kill her before they could tear her child from her. An hour passed in resistance on her part, in threats and insults from the municipals, in tears and efforts from all of us. At last they threatened my mother so positively to kill him and us also that she had to yield for love of us.

Madame at Prayer

A small collection of engravings of Madame, the duchesse d'Angouleme, at prayer. Prayer and religion were of the utmost important to the duchesse, who found consolation in her religion during her long and tumultuous life.

 

Marie Thérèse praying for her mother and for France in the Temple prison

credit: Bibliothèque nationale de France

 

Marie Thérèse, the duchesse d'Angouleme praying at the tomb of her family

credit: Bibliothèque nationale de France

 

The duchesse d'Angouleme at prayer

credit: Bibliothèque nationale de France

 

The duchesse d'Angouleme in prayer at Saint-Étienne-du-Mont

credit: Bibliothèque nationale de France

 

The duchesse d'Angouleme at prayer in Scotland in 1832, after the July Revolutio

credit: Bibliothèque nationale de France

 

 

Bouquet Royal

 

credit: Bibliothèque nationale de France, département Estampes et photographie

When I saw this unique engraving, my mind went at once to the painting which was presented Marie Antoinette when she was a young dauphine, which depicted her as the center of a rose among a bouquet of flowers.

This engraving, published in 1815, puts the returning Bourbons at the center of a 'royal bouquet.' I find it interesting that the duchesse d'Angouleme is placed in the second tier of flowers, just below the right hand side of Louis XVII and on the same level as as the comte d'Artois--who was now heir presumptive. Perhaps the engraving, which was no doubt created to promote joy in return of the Bourbon monarchy, was intending to capitalize on the memory of the French. They would remember their "princess in the tower," daughter of the last king and queen, much more than her two cousins.

Can any flower aficionados identity the flowers being used in this unique engraving?

A portrait of the duchesse d'Angoulême crowned with lilies

image:  (C) Musée du Louvre, Dist. RMN-Grand Palais / Martine Beck-Coppola

A portrait of Marie-Thérèse-Charlotte de France, duchesse d'Angoulême by an unknown 19th century artist. This particular miniature seems to strongly emphasis the duchesse's Bourbon heritage: among the royal nods in the painting are a royal blue ermine cloak draped around her shoulders and the delicate crown of lilies, a symbol strongly associated with the Bourbon royal family, which adorns her head. The date on this miniature is unknown...  perhaps it was painted to celebrate the beginning of the Bourbon Restoration.

An engraving of the duchesse d'Angoulême

A stunning colored engraving of the duchesse d'Angoulême by Augustin Legrand.

 

image credit: ebay.fr

This engraving was first published in 1815, likely before or after Napoleon's "Hundred Days," in honor of the restoration of the monarchy. Indeed, many symbols of the Bourbons and the French monarchy can be found in the border of the print, in addition to Marie-Thérèse all-white ensemble. The duchesse was a particular popular topic for engravings during the Restoration--which may be because she was, amongst all of the returning Bourbons, the one most cemented in French memory as the "orphan princess of the Temple."

'There was none so haunted as Trianon...'

 

image credit: gallica.bnf.fr 

"Thérèse had lived in many places, but there was none so haunted as Trianon, or as vibrant with memory. Its haunting was a wistful and compelling call to linger, as if the murmuring poplars and cedars entreated one to stay forever. The soul seemed drawn into an enchanted realm where time itself dallied. She breathed in the scented air. No one would ever live there for long in peace; no one could ever again make it a dwelling place, for the person who had enlivened Trianon with her own spontaneous magic was gone from the world. Trianon was no longer a home, but a tangible dream of lost happiness."

—Madame Royale by Elena Maria Vidal

This quote from Madame Royale is one that I think about a lot--it's one of those passages that really sticks to your mind long after you've finished the book. I was browsing through some vintage photographs of the Trianon and the image, of two women walking through the hamlet, immediately reminded me of this quote.

Are there any book quotes about Marie Antoinette, or the Trianon, that stick out for you? 

"It is the head of Mme. de Lamballe they wish to show you."

image credit: my collection

A vintage postcard from the waxwork museum, Musée Grévin, depicting the infamous scene of September 3rd in the Temple, when a mob attempted to show Marie Antoinette the head of the Princesse de Lamballe. Here is the event, as described in Madame Royale's memoirs:

"Several officers of the National Guard and some municipals arrived; the first desired that my father should show himself at the window. The municipals fortunately opposed this; but my father, having asked what was happening, a young officer replied: "Well, if you want to know, it is the head of Mme. de Lamballe they wish to show you." My mother was seized with horror; that was the sole moment when her firmness abandoned her."

Book Review: The Princess in the Tower by Sharon Stewart

"They want me to remember everything that happened, and to write it all down. Do they think I could forget any of it? My god, do they think I don't wake up in the dark of night, remembering? ... I will give them the account they want. ... But my own deepest feelings I will not tell them. Not for them this story, the real story, of our journey from sunshine to shadow..."

The Princess in the Tower by Sharon Stewart begins in October 1795, as the young princess, Marie Therese Charlotte, is told to write her account of the last tumultuous years of her family's life. She agrees, but is determined only to give them the cold facts, and not her true memoir. The "true memoir" is the book. The reader is then quickly taken back to June 1789, much happier days for the princess and her young brother, Louis Charles. But the days are not so happy for their parents, Marie Antoinette and Louis XVI, nor for the adult world inside and outside the palace. Although the children are largely ignorant of what's really taking place, and are content to play games of hide and seek in the narrow servant's corridors, the events of the revolution quickly force the harsh reality into their lives. The revolution takes Therese and her family from the glitter of Versailles to imprisonment in the Temple tower, and she must struggle to remain strong as everyone she loves is taken from her - all the while wondering, "Will I be killed next?"

This book was initially published as The Dark Tower, but was republished under its new name as a part of the Beneath the Crown series. The series, intended to be similar to The Royal Diaries, was short-lived - only three books were published before the line was discontinued.

I'm glad it was republished by Scholastic as a Beneath the Crown book, because otherwise I might never have come across it while browsing Scholastic's web pages! I really enjoyed this book, particularly because it was from the perspective of royal couple's daughter and not (as it tends to be) from Marie Antoinette's point of view.

Although the book was similar to the style of books in the The Royal Diaries series, it was not told in a day-by-day diary format, but instead in a series of longer memoir chapters. This was not a problem, however, as Stewart's writing style keeps the events moving and alive. Stewart was able to capture the voice of the young princess as she grows from a childish, somewhat spoiled girl into a teenager who had gone lost everything and everyone in her life.

Naturally, many historical events and characters were simplified or tweaked for this book, because of its intended age range. The only historical change that I definitely did not agree with was Stewart's complete removal of Louis Joseph and Sophie, Marie Antoinette's other children. The book's events began in June of 1789, the month that Louis Joseph died, but there wasn't mention of him throughout the entire book. I admit I'm baffled at completely ignoring their existence entirely, because their deaths, and Louis Joseph's in particular, would have had such an impact on Marie Therese and her family.

I do highly recommend this book, however, because it does provide an intimate perspective on Marie Therese's childhood and personal growth throughout the revolution. I believe that younger and older readers will enjoy this read for the fresh material and different point of view it brings.