that age of spectacles, had been seen in Paris. The procession, upon leaving the church, proceeded to the palace of the Archbishop, where a magnificent collation was prepared, – largess, as it moved along, being proclaimed among the people, in the name of the King and Queen of Scots. In the afternoon, the royal party returned to the palace of the Tournelles – Catherine de Medicis and Mary sitting together in the same palanquin, and a Cardinal walking on each side. Henry and Francis followed on horseback, with a long line of princes and princesses in their train. The chronicler of these nuptials is unable to conceal his rapture, when he describes the manner in which the palace had been prepared for their reception. Its whole appearance, he tells us, was “light and beautiful as Elysium.” During supper, which was served upon a marble table in the great hall, the King’s band of “one hundred gentlemen” poured forth delicious strains of music. The members of Parliament attended in their robes; and the princes of the blood performed the duty of servitors – the Duke of Guise acting as master of the ceremonies. The banquet being concluded, a series of the most magnificent masks and mummeries, prepared for the occasion, was introduced. In the pageant, twelve artificial horses, of admirable mechanism, covered with cloth of gold, and ridden by the young heirs of noble houses, attracted deserved attention. They were succeeded by six galleys, which sailed into the hall, each rich as Cleopatra’s barge, and bearing on its deck two seats, the one filled by a young cavalier, who, as he advanced, carried off from among the spectators, and gently placed in the vacant chair, the lady of his love. A splendid tournament concluded these rejoicings.
During the whole of these solemnities, every eye was fixed on the youthful Mary; and, inspired by those feelings which beauty seldom fails to excite, every heart offered up prayers for her future welfare and happiness. She was now at that age when feminine loveliness is perhaps most attractive. It is not to be supposed, indeed, that in her sixteenth year, her charms had ripened into that full-blown maturity which they afterwards attained; but they were, on this account, only the more fascinating. Some have conjectured that Mary’s beauty has been extolled far beyond its real merits; and it cannot be denied that many vague and erroneous notions exist regarding it. But that her countenance possessed in a pre-eminent degree the something which constitutes beauty, is sufficiently attested by the unanimous declaration of all cotemporary writers. It is only, however, by carefully gathering together hints scattered here and there, that any accurate idea can be formed of the lineaments of a countenance which has so long ceased to exist, unless in the fancy of the enthusiast. Generally speaking, Mary’s features were more Grecian than Roman, though without the insipidity that would have attached to them, had they been exactly regular. Her nose exceeded a little the Grecian proportion in length. Her hair was very nearly of the same colour as James V.’s – dark yellow, or auburn, and, like his, clustered in luxuriant ringlets. Her eyes, – which some writers, misled by the thousand blundering portraits of her scattered everywhere, conceive to have been gray, or blue, or hazel, – were of a chestnut colour, – darker, yet matching well with her auburn hair. Her brow was high, open, and prominent. Her lips were full and expressive, as the lips of the Stuarts generally were; and she had a small dimple in her chin. Her complexion was clear, and very fair, without a great deal of colour in her cheeks. Her mother was a woman of large stature, and Mary was also above the common size. Her person was finely proportioned, and her carriage exceedingly graceful and dignified.19
In this description of Mary’s personal appearance, we have placed a good deal of reliance on the research and accuracy of Chalmers. It will be observed, that our account differs, in many essential particulars, from that of Robertson, who says – “Mary’s hair was black, though, according to the fashion of that age, she frequently wore borrowed locks, and of different colours. Her eyes were a dark gray; her complexion was exquisitely fine; and her hands and arms remarkably delicate, both as to shape and colour. Her stature was of an height that rose to the majestic.” Where Robertson discovered that Mary’s hair was black, or her eyes gray, he does not mention. That her eyes were not black, we have the direct testimony of Beal, Clerk to the Privy Council of England, who was ordered by Cecil to be present at the death of the Scottish Queen, and who describes her as having “chestnut-coloured eyes.” As to her hair, and her other features, though Melville, in his Memoirs, certainly seems to imply that the former was auburn, yet, as he does not expressly say so, we suspect correct conclusions can be arrived at only by a reference to the best authenticated portraits which have been preserved of Mary. This, however, is far from being a criterion by which opinions should be rashly formed. There are few persons in the whole range of history, likenesses of whom have been more eagerly sought after; and, in proportion to the anxiety manifested to secure originals, has been the temptation to mislead and deceive. Almost all the paintings said to be originals of Mary Queen of Scots, are the impositions of picture-dealers. When the demand for these paintings became general, it was not at all unusual to despatch emissaries over the Continent to pick up every picture, the costume and general appearance of which in the least resembled the Scottish Queen. During Mary’s life, and for some time after her death, the fame of her beauty, and the interest attached to her fortunes, induced numerous ladies of rank, who flattered themselves that they were like her, to have portraits painted in the style then well understood by the phrase à la Mary Stuart. There was, in particular, a celebrated Continental beauty of those days – a Countess of Mansfeldt – (we speak on the authority of a living artist of celebrity), who resembled Mary in many particulars, and all whose portraits (nor were they few in number) when they afterwards came into the hands of the picture-dealers, were affirmed to be Maries. Thus, in the lapse of years, the truth became so involved in uncertainty, that even Robertson, allowing himself to be too hastily misled, has lent his name to the dissemination of error.
Horace Walpole, after having made extensive inquiries on this subject, has recorded, that he never could ascertain the authenticity and originality of any portrait of Mary, except of that in the possession of the Earl of Morton, which was painted when she was at Lochleven. Chalmers, in order to come as near the truth as possible, employed Mr Pailou, an artist of ability, to compare the picture belonging to the Earl of Morton, with two or three other undoubted originals which have been discovered since Walpole wrote. Pailou commenced by sketching the outline of his picture from Lord Morton’s original. He then proceeded to the examination of three genuine portraits of Mary, one in the Church of St Andrew in Antwerp, another in the Scotch College at Douay, and a third in the Scotch College at Paris. Neither did he forget the profile heads of Mary struck upon her coins, nor the marble figure representing her on her tomb in Henry VII’s Chapel, which Walpole thought a correct likeness. Mr Pailou thus made Lord Morton’s picture the basis of his own, but, as he advanced, constantly referred to the others, “till he got the whole adjusted and coloured.” Though we cannot exactly approve of thus cooking up a picture from various different sources, and should be inclined to think, that too much was left by such a mode of procedure to the arbitrary taste of the artist, we nevertheless feel satisfied that Mr Pailou has hit upon a tolerably accurate likeness. His picture, engraved by Scriven, forms the frontispiece to the second volume of Chalmers’s work. The brow, eyes, mouth, and chin, he has given with great success. But the painting is far from being without faults; – the face is a good deal too round and plump, the nose is made slightly aquiline – a decided mistake, – and the neck is much too short, at least so it appears in the engraving.
The portrait of Mary, which forms the frontispiece to the present volume, and on which we place greater reliance than on any with which we are acquainted, is an engraving executed expressly for this work, from an original picture of much merit.20 It was painted when Mary was in France, by an Italian artist of eminence, who flourished as her cotemporary in the sixteenth century, and whose name is on the canvas. It would have been impossible to say at what precise age it represented Mary, though, from the juvenility of the countenance, it might have been concluded that it was taken a year or two before she became Dauphiness, had not the painter fortunately obviated the difficulty, by inserting immediately after his own signature the date, which is 1556, when she was just fourteen. It is upon this picture that we have chiefly founded our description of Mary’s personal appearance. What gives us the greater confidence in its authenticity and accuracy, is, that it very exactly corresponds with two other portraits, believed on
Mezeray, Castelnau, Brantome, Thuanus, Chalmers, Miss Benger.
This picture originally belonged to Lord Robert Stuart, Earl of Orkney, one of Mary’s natural brothers, and is now in the possession of William Trail, Esq. of Woodwick, Orkney, into whose family it came, together with other relics of the Earl, by the marriage of an ancestor of Mr Trail, to one of his descendants.
