Force mark the transition between what is called the architecture of the Renaissance and that of Henri III., Henri IV., and Louis XIII. This archaeological digression (continuing the sketches of old Paris with which we began this history) enables us to picture to our minds the then appearance of this other corner of the old city, of which nothing now remains but Henri IV.’s addition to the Louvre, with its admirable bas-reliefs, now being rapidly annihilated. When the court heard that the queen was about to give an audience to Theodore de Beze and Chaudieu, presented by Admiral Coligny, all the courtiers who had the right of entrance to the reception hall, hastened thither to witness the interview. It was about six o’clock in the evening; Coligny had just supped, and was using a toothpick as he came up the staircase of the Louvre between the two Reformers. The practice of using a toothpick was so inveterate a habit with the admiral that he was seen to do it on the battle-field while planning a retreat. “Distrust the admiral’s toothpick, the _No_ of the Connetable, and Catherine’s _Yes_,” was a court proverb of that day. After the Saint-Bartholomew the populace made a horrible jest on the body of Coligny, which hung for three days at Montfaucon, by putting a grotesque toothpick into his mouth. History has recorded this atrocious levity. So petty an act done in the midst of that great catastrophe pictures the Parisian populace, which deserves the sarcastic jibe of Boileau: “Frenchmen, born _malin_, created the guillotine.” The Parisian of all time cracks jokes and makes lampoons before, during, and after the most horrible revolutions. Theodore de Beze wore the dress of a courtier, black silk stockings, low shoes with straps across the instep, tight breeches, a black silk doublet with slashed sleeves, and a small black velvet mantle, over which lay an elegant white fluted ruff. His beard was trimmed to a moustache and _virgule_ (now called imperial) and he carried a sword at his side and a cane in his hand. Whosoever knows the galleries of Versailles or the collections of Odieuvre, knows also his round, almost jovial face and lively eyes, surmounted by the broad forehead which characterized the writers and poets of that day. De Beze had, what served him admirably, an agreeable air and manner. In this he was a great contrast to Coligny, of austere countenance, and to the sour, bilious Chaudieu, who chose to wear on this occasion the robe and bands of a Calvinist minister.