All these wonders and magical effects which the chronicler has heaped up, or rather embalmed, in his recital, at the risk of rivaling the brain-born scenes of romancers; these splendors whereby night seemed vanquished and nature corrected, together with every delight and luxury combined for the satisfaction of all the senses, as well as the imagination, Fouquet did in real truth offer to his sovereign in that enchanting retreat of which no monarch could at that time boast of possessing an equal.

We do not intend to describe the grand banquet, at which the royal guests were present, nor the concerts, nor the fairy-like and more than magic transformations and metamorphoses; it will be enough for our purpose to depict the countenance the king assumed, which, from being gay, soon wore a very gloomy, constrained, and irritated expression.

He remembered his own residence, royal though it was, and the mean and indifferent style of luxury that prevailed there, which comprised but little more than what was merely useful for the royal wants, without being his own personal property.

The large vases of the Louvre, the older furniture and plate of Henry II., of Francis I., and of Louis XI., were but historic monuments of earlier days; nothing but specimens of art, the relics of his predecessors; while with Fouquet, the value of the article was as much in the workmanship as in the article itself.

Fouquet ate from a gold service, which artists in his own employ had modeled and cast for him alone.