debate and the negotiations that ensued, had fixed the regards of Paris, of Versailles, of the whole kingdom indeed, — although in simple and farmer-like exterior, so unlike those gilded plenipotentiaries to whom France was accustomed, and he recounts, most sympathetically, that the Prince, after an interview of two hours, declared that" Franklin appeared to him above even his reputation." And here we encounter again the unwilling testimony of Capefigue, who says that he was followed everywhere, taking possession of "hearts and minds," and that "his picture, in his simple Quaker dress, was suspended at the hearth of the poor and in the boudoir of the fashionable," 2-all of which is in harmony with the more sympathetic record of Lacretelle, who says that "portraits of Franklin were to be seen everywhere, with this inscription, which the Court itself found just and sublime, Eripuit cælo fulmen, sceptrumque tyrannis." 3 Fragonard, the King's painter, united in this adulation. A French paper describes the artist as displaying his utmost efforts "in an elegant picture dedicated to the genius of Franklin, who is represented with one hand opposing the aegis of Minerva to the thunderbolt, which he first knew how to fix by his conductors, and with the other commanding the God of War to fight against Avarice and Tyranny, whilst America, nobly reclining upon him, and holding in her hand the fasces, true emblem of the union of the American States, looks 1 Chambelland, Vie du Prince de Bourbon-Condé, Tom. I. 2 Capefigue, Louis XVI., Tom. II. p. 49. p. 376. Lacretelle, Histoire de France pendant le 18me Siècle (2me édit.), Tom. V. p. 85. The historian errs in putting this success in 1777, before the date of the Treaty; and he errs also with regard to the Court, if he meant to embrace the King and Queen. down with tranquillity on her defeated enemies." It is then said, that "the painter, in this picture, most beautifully expressed the idea of the Latin verse which has been so justly applied to M. Franklin." The enthusiastic journalist, not content with the picture and the verse, proceeded to claim him as of French ancestry. "Franklin appears rather to be of French than of English origin. It is certain that the name of Franklin, or Franquelin, is very common in Picardy, especially in the districts of Vimeux and Ponthieu. It is very probable that one of the Doctor's ancestors was an inhabitant of this country, and went over to England with the fleet of Jean de Biencourt, or that which was fitted out by the nobility of this province." The story of Homer seems revived. The tribute of Madame d'Houdetot was most peculiar. This lady, one of the riddles of French society in the eighteenth century, whom Rousseau depicted in a passage of surpassing fervor and made the inspiration of his "Nouvelle Éloïse," received Franklin at her château, near Paris, in a brilliant circle, with banquet and verses in his honor. The famous guest, at his arrival, and then at dinner, with every glass of wine was saluted by a new verse, the whole ending with the ascription of Turgot.2 Whether to admire or pity the philosopher on this occasion is the question. In the minds of Frenchmen Franklin was associated always with this verse; but such association was no common fame. The Marquis de Chastellux, while on board the French frigate in the Chesapeake Bay, on 1 Gazette d'Amiens, Avril, 1780: Moore's Diary of the American Revolution, Vol. II. p. 283. 2 The account of this unique fête, with the verses, was reprinted in America, and is in the collection of the Zenger Club, of New York. Parton, Life and Times of Benjamin Franklin, Vol. II. pp. 430–434. which he was about to leave, after those travels which did so much to make our country known in Europe, addressed a communication to Professor Madison, of Virginia, on the fine arts in America, where he recommends for all the great towns a portrait of Franklin, "with the Latin verse inscribed in France below his portrait." Thus, while teaching our fathers the homage due to the great citizen, the generous Frenchman did not forget the testimony of his countryman. French invention stopped not with Turgot. Other verses were pitched on the same key. An engraving of Franklin by Chevillet, after a portrait by Duplessis, has this tribute: : "Honneur du Nouveau Monde et de l'Humanité, Ce Sage aimable et vrai les guide et les éclaire; Under another engraving, by F. N. Martinet, where Franklin is seated in a chair, are these lines: "Il a ravi le feu des cieux, Il fait fleurir les arts en des climats sauvages; La Grèce l'auroit mis au nombre de ses Dieux." It was at Court, even in the palatial precincts of Versailles, that the portrait and its famous inscription had their most remarkable experience. Of this there is authentic account in the Memoirs of Marie Antoinette by her attendant, Madame Campan. This feminine chronicler relates that Franklin appeared at court in the dress of an American farmer. His flat hair without powder, his round hat, his coat of brown cloth contrasted with the bespangled and embroidered dresses, the pow 1 Chastellux, Travels in North America, Vol. II. p. 372, January 12, 1783. VOL. VIII. 2 dered and perfumed coiffures of the courtiers. The novelty charmed the lively imagination of the French ladies. Elegant fêtes were given to the man who was said to unite in himself the renown of one of the greatest of natural philosophers with "those patriotic virtues which had made him embrace the noble part of Apostle of Liberty." Madame Campan records that she assisted at one of these fêtes, where the most beautiful among three hundred ladies was designated to place a crown of laurel upon the white head of the American philosopher, and two kisses upon the cheeks of the old man. Even in the palace, at the exposition of the Sèvres porcelain, the medallion of Franklin, with the legend," Eripuit cœlo," etc., was sold directly under the eyes of the King. Madame Campan adds, however, that the King avoided expressing himself on this enthusiasm, which, "without doubt, his sound sense led him to blame." But an incident, called "a pleasantry," which has remained quite unknown, goes beyond speech in explaining the secret sentiments of Louis the Sixteenth. The Comtesse Diane de Polignac, devoted to Marie Antoinette, shared warmly the "infatuation" with regard to Franklin. The King observed it. But here the story shall be told in the language of the eminent lady who records it: "Il fit faire à la manufacture de Sèvres un vase de nuit, au fond duquel était placé le médaillon avec la légende si fort en vogue, et l'envoya en présent d'étrennes à la Comtesse Diane." Such was the exceptional treatment of Franklin, and of the inscription in his honor which was "so much in vogue." Giving to this incident its natural interpretation, it is impossible to resist the conclusion, 1 Mémoires sur la Vie privée de Marie Antoinette, par Madame Campan, Tom. I. p. 234. that the French people, and not the King, sanctioned American independence. The conduct of the Queen on this occasion is not recorded, although we are told by the same communicative chronicler, who had been her Majesty's companion, that she did not hesitate to express herself more openly than the King on the part taken by France in favor of American independence, to which she was constantly opposed. A letter from Marie Antoinette, addressed to Madame de Polignac, under date of April 9, 1787, declares unavailing regret in memorable words: "The time of illusions is past, and to-day we pay dear on account of our infatuation and enthusiasm for the American War."1 Evidently, Marie Antoinette, like her brother Joseph, thought that her "business was to be a royalist." But the name of Franklin triumphed in France. So long as his residence continued there he was received with honor; and when, after the achievement of independence, and the final fulfilment of all that was declared in the verse of Turgot, he undertook to return home, the Queen-who had looked with so little favor upon the cause he so grandly represented-sent a litter to receive his sick body and carry him gently to the sea. As the great Revolution began to show itself, his name was hailed with new honor; and this was natural; for the French Revolution was an outbreak of the spirit that had risen to welcome him. In snatching the sceptre from a tyrant he had given a lesson to France. His death, when at last it occurred, was the occasion of a magnificent eulogy from Mirabeau, who, borrowing the 1 Bulletin de l'Alliance des Arts, 10 Octobre, 1843. See, also, Goncourt, Histoire de Marie Antoinette, p. 221. |