Among the conspicuous women of the sixteenth century to whom, thus far, we have been able to attribute so little of the wholesome and pleasing, the womanly or love-inspiring, there is one striking exception in Marguerite d'Angoulême, a representative of letters, art, culture, and morality. With the study of this character we are taken back to the beginning of the century and carried among men of letters especially, for she formed the centre of the literary world. She, her mother, Louise of Savoy, and her brother, Francis I., were called a "trinity," to the existence of which Marguerite bore witness in the poem: "Such boon is mine--to feel the amity That God hath putten in our trinity Wherein to make a third, I, all unfitted To be that number's shadow, am admitted." Marguerite inherited many of her qualities from her mother, "a most excellent and a most venerable dame," though anything but moral and conscientious; she, upon discovering that her daughter possessed rare intellectual gifts, provided her with teachers in every branch of the learning of the age. "At fifteen years of age, the spirit of God began to manifest itself in her eyes, in her face, in her walk, in her speech, and in all her actions generally." Brantôme says: "She had a heart mightily devoted to God and she loved mightily to compose spiritual songs. She devoted herself to letters, also, in her young days and continued them as long as she lived, in the time of her greatness, loving and conversing with the most learned folks of her brother's kingdom, who honored her so greatly that they called her their Mæcenas." Tenderness, particularly for her brother, seemed to develop in her as a passion. Marguerite was a rare exception in a period described by M. Saint-Amand as one in which women were Christian in certain aspects of their character and pagan in others, taking an active part in every event, ruling by wit and beauty, wisdom and courage; an age of thoughtless gaiety and morbid fanaticism, and of laughter and tears, still rough and savage, yet with an undercurrent of subtle grace and exquisite politeness; an age in which the extremes of elegance and cruelty were blended, in which the most glaring scepticism and intense superstitions were everywhere evident; an age which was religious as well as debauched and whose women were both good and evil, innocent and intriguing. Everything was fluctuating; there was inconstancy even in the things most affected: pleasure, pomp, display. The natural outcome of this undefined restlessness was dissatisfaction; and when dissatisfaction brought in its train the inevitable reaction against falseness and immorality, Marguerite d'Angoulême stood at the head of the movement.