And now in the midst of all the uphill work of driving his negotiation to a favourable conclusion, as he hoped, while promising largely, and most sincerely, poor man! the complete cession of his own and subjects' souls, here was his own wife, not only saying her soul was her own, but disposing of it to Mother Church's most dreaded and detested enemy.
Swift remedy found the exasperated Duke for such domestic treason. And here Mnemosyne begs to suggest as a subject for artistic presentment the incident which followed. Scene—the private closet of the Duchess in the castle of Ferrara. The persons assembled there have been engaged in that sweet converse so delightful to persons bound together by common thoughts and feelings in the midst of an unsympathising and hostile world around them. There is the good Duchess, who has perhaps been mingling with more serious discourse questionings of things in that dear distant France, which she never ceased while absent from it to regret. The elderly lady, somewhat austerely dressed in black to the throat, with deep ruffle around her neck, and large hanging sleeves to her dress, is Madame de Soubise, who came with Renée from France, and who was, as is well known, "lame of the same foot," as the Catholic writers phrase it. The great heresiarch himself might have been recognised by those handsome but hard and severe features, the lofty but not noble forehead, and the bright but domineering eye; but he could not have been known from habiliments chosen to suit the character of M. Charles d'Espeville. The Signeurs de Pons and de Soubise may also have been present. But one other person was assuredly there;—a writer of obscene French verses, as the orthodox Italians call him,[50] who had an absurd mania for meddling in theology, and fancying that he comprehended the original language of the sacred writers, one Clement Marot,—he was there too, and "assisted Calvin much in saturating the mind of the Duchess with pestilent doctrine."
"To them, enter" hurriedly and noisily the Duke in high wrath, and at his heels, opera–stage fashion, a sufficient impersonation of "la force publique."
A rapid glance of the angry eye indicates to those active officers the duty in hand. And M. Charles d'Espeville, alias John Calvin, and the luckless poet turned theologian, are marched off, with a very tolerable prospect of martyrdom before them. "And as for you, Madame! ... &c."