Gabriel was ready to start bright and early the next day; he passed the night dreaming without closing his eyes. He waited on the Duc de Guise to receive his last instructions, and pay his parting respects, and on the 26th of April, at six in the morning, he set out for Rome, and thence for Paris, attended by Martin-Guerre and two of his followers. CHAPTER IV A KING'S MISTRESS It is the 20th of May, and we ask our readers to go with us to the Louvre at Paris, and to the apartments of the wife of the Great Seneschal, Madame de Brézé, Duchesse de Valentinois, commonly called Diane de Poitiers. Nine o'clock in the morning has just struck on the great clock of the château. Madame Diane, all in white, in a decidedly coquettish _negligé_, is leaning or half reclining on a bed covered with black velvet. King Henri, already dressed in a magnificent costume, is sitting on a chair at her side. Let us glance a moment at the scene and the _dramatis personæ_. The apartment of Diane de Poitiers was resplendent with all the magnificence and taste which that fair dawning of art called the Renaissance had had the skill to lavish upon a king's chamber. Paintings signed "Le Primatice" represented various incidents of the hunting field, wherein the Huntress Diane, goddess of woods and forests, naturally figured as the principal heroine. The gilded and colored medallions and panels repeated on all sides the intertwined armorial bearings of François I. and Henri II. In like manner were memories of father and son intertwined in the heart of the fair Diane. The emblems were no less historical and full of meaning, and in twenty places was to be seen the crescent of Phœbus-Diane, between the Salamander of the conqueror of Marignan, and Bellerophon overthrowing the Chimæra, a device adopted by Henri II. after the taking of Boulogne from the English. This fickle crescent appeared in a thousand different forms and combinations which did great credit to the decorators of the time: here the royal crown was placed above it, and there four H's, four _fleurs de lis_, and four crowns together made a superb setting for it; again it was threefold, and then shaped like a star. The mottoes were no less varied, and most of them were written in Latin. "Diana regum venatrix" (Diana, huntress of kings),--was that a piece of impertinence or of flattery? "Donec totum impleat orbem" can be translated in two ways,--"The crescent is to become a full moon," or "The king's glory will fill the whole world." "Cum plena est, fit æmula solis," can be freely translated, "Beauty and royalty are sisters." And the lovely arabesques which enclosed devices and mottoes, and the superb furnishings on which they were reproduced,--all these, if we should attempt to describe them, would not only put our magnificence of the present day to the blush, but would lose too much in the description. Now let us cast our eyes upon the king.