black! No lack was there of splendid koyfes of damask, or kerchiefs of fine Cyprus; nor of points of Venice silver of ducat fineness, nor of garlands of friars' knots, nor of coloured satins, nor of bleeding hearts embroidered on the bravery of dolorous lovers, nor of quaint sentences of wailing gallantry! But for the details, are they not to be found in those much-neglected and much-plundered persons, the old chroniclers? and will they not sufficiently appear in the most inventive portion of the next great historical novel?
The Grand Duke looked the Emperor. Our friend the Grand Marshal was Francis the First; and Arnelm and von Neuwied figured as the Marshal of Montmorency and the Marshal Lautrec. The old toothless Bishop did justice to Clement the Seventh; and his companion, the ancient General, looked grim as Pompeo Colonna. A prince of the House of Nassau, one of the royal visitors, represented his adventurous ancestor the Prince of Orange. Von Sohnspeer was that haughty and accomplished rebel, the Constable of Bourbon. The young Baron Gernsbach was worthy of the seraglio, as he stalked along as Solyman the Magnificent, with all the family jewels belonging to his dowager mother shining in his superb turban. Our friend the Count of Eberstein personified chivalry, in the person of Bayard. The younger Bernstorff, the intimate friend of Gernsbach, attended his sumptuous sovereign as that Turkish Paul Jones, Barbarossa. An Italian Prince was Andrew Doria. The Grand Chamberlain, our francisé acquaintance, and who affected a love of literature, was the Protestant Elector of Saxony. His train consisted of the principal litterateurs of Reisenburg. The Editor of the "Attack-all Review," who originally had been a Catholic, but who had been skilfully converted some years ago, when he thought Catholicism was on the decline, was Martin Luther, an individual whom, both in his apostasy and fierceness, he much and only resembled. On the contrary, the editor of the "Praise-all Review" appeared as the mild and meek Melanchthon. Mr. Sievers, not yet at Vienna, was Erasmus. Ariosto, Guicciardini, Ronsard, Rabelais, Machiavel, Pietro Aretino, Garcilasso de la Vega. Sannazaro, and Paracelsus, afforded names to many nameless critics. Two Generals, brothers, appeared as Cortes and Pizarro. The noble Director of the Gallery was Albert Durer, and his deputy Hans Holbein. The Court painter, a wretched mimic of the modern French School, did justice to the character of Correggio; and an indifferent sculptor looked sublime as Michel Angelo.
Von Chronicle had persuaded the Prince of Pike