gossiping with idle gentlemen in the halls of the Louvre. It was thus he composed his biographical and anecdotical volumes, which he retouched and rewrote at intervals, making several successive copies. That he had the future of his writings much at heart, in spite of a scornful air of indifference which he sometimes assumed, appears very plainly from the following clause in his will:

“I will,” he says, “and I expressly charge my heirs to cause to be printed my Books, which I have composed from my mind and invention with great toil and trouble, written by my hand, and transcribed clearly by that of Mataud, my hired secretary; the which will be found in five volumes covered with velvet, black, tan, green, blue, and a large volume, which is that of ‘The Ladies,’ covered with green velvet, and another covered with vellum and gilded thereon, which is that of ‘The Rhodomontades.’ They will be found in one of my wicker trunks, carefully protected. Fine things will be found in them, such as tales, discourses, histories, and witticisms; which no one can disdain, it seems to me, if once they are placed under his nose and eyes. In order to have them printed according to my fancy, I charge with that purpose Madame la Comtesse de Duretal, my dear niece, or some other person she may choose. And to do this I order that enough be taken from my whole property to pay the costs of the said printing, and my heirs are not to divide or use my property until this printing is provided for. It is not probable that it will cost much; for the printers, when they cast their eyes upon the books, would pay to print them instead of exacting money; for they do print many gratis that are not worth as much as mine. I can boast of this; for I have shown them, at least in part, to several among that trade, who offered to print them for nothing. But I do not choose that they be printed during my life. Above all, I will that the said printing be in fine, large letters, in a great volume to make the better show, with license from the king, who will give it readily; or without license, if that can be. Care must also be taken that the printer does not put on another name than mine; otherwise I shall be frustrated of all my trouble and of the fame that is my due. I also will that the first book that issues from the press shall be given as a gift, well bound and covered in velvet, to Queen Marguerite, my very illustrious mistress, who did me the honour to read some of my writings, and who thought them fine and esteemed them.”

This will was made about the year 1609. On the 15th of July, 1614, Brantôme died, after living his last years in complete oblivion; he was buried, according to his wishes, in the chapel of his château of Richemont. In spite of his express directions, neither the Comtesse de Duretal nor any other of his heirs executed the clause in his will relating to the publication of his works. Possibly they feared it might create some scandal, or it may be that they could not obtain the royal license. The manuscripts remained in the château of Richemont. Little by little, as time went on, they attracted attention; copies were made which found their way to the cabinets and libraries of collectors. They were finally printed in Holland; and the first volume, which appeared in Leyden from the press of Jean Sambix the younger, sold by F. Foppons, Brussels, 1665, was that which here follows: “The Book of the Ladies,” called by the publisher, not by Brantôme, “Lives of Illustrious Dames.”

It is not easy to distinguish the exact periods at which Brantôme wrote his works. “The Book of the Ladies,” first and second parts,—Dames Illustres and Dames Galantes,—were evidently the first written; then followed “The Lives of Great and Illustrious French Captains,” “Lives of Great Foreign Captains,” “Anecdotes concerning Duels,” “The Rhodomontades,” and “Spanish Oaths.” Brantôme did not write his Memoirs, properly so-called; his biographical facts and incidents are scattered throughout the above-named volumes.

The following translation of the “Book of the Ladies” does not pretend to imitate Brantôme’s style. To do so would seem an affectation in English, and attract attention to itself which it is always desirable to avoid in translating. Wherever a few of Brantôme’s quaint turns of phrase are given, it is only as they fall naturally into English.