Each time victory appeared certain some fresh misfortune occurred, the most vexatious of all being one which seems due to Palissy's own carelessness. The mortar used by the potter in building his kiln was full of small pebbles, and when the oven became very hot these pebbles split, and mixed with the glaze. Then the enamel was spread over the earthen pots (which at last were properly baked), and the surface of each vessel, instead of being absolutely smooth, became as sharp as a razor and tore the hand of any unlucky person who touched it.

To guard against such accidents Palissy invented some sort of cases--'lanterns' he calls them--in which to put his pots while in the kiln, and these he found extremely useful. He now plucked up heart and began to model lizards and serpents, tortoises and lobsters, leaves and flowers, but it was a long while before he could turn them out as he wished. 'The green of the lizards,' he tells us, 'got burned before the colour of the serpents was properly fixed,' and the lobsters, serpents and other creatures were baked before it suited the potter, who would have liked them all to take the same time. But at length his patience and courage triumphed over all difficulties. By-and-by he learned how to manage his furnace and how to mix his materials; the victory had taken him sixteen years to win, but at last he, and not the fire, was master; henceforth he could make what he liked, and ask what price he chose.

And there we will leave Palissy the artist and turn to the life of Palissy the Huguenot.

For some years past the reformed religion had spread rapidly in this corner of France, and Palissy, always anxious to understand everything that came in his way, began first to inquire into the new doctrines, and then to adopt them. One of the converts, Philibert Hamelin, a native of Tours, was seized by the magistrates and condemned to death, and Palissy, who was his special friend, careless of any risk to himself, did all that was possible to obtain his pardon; when that proved hopeless, the potter arranged a plan of escape for the prisoner, but Hamelin declined to fly, and was hanged at Bordeaux in 1557.

The new religion had changed life outwardly as well as inwardly at Saintes, as Palissy himself tells us. 'Games, dances, songs, banquets, smart clothes, were all things of the past. Ladies were forbidden by Calvin, whose word was law, even to wear ribbons; the wine shops were empty, for the young men pa.s.sed their spare hours in the fields; girls sat singing hymns on the banks of the streams, and boys abandoned their games, and were as grave as their fathers.' The new faith spread rapidly in this district, but the converts did not all behave in the peaceable manner described by Palissy. As the party grew stronger it also grew more violent, and it was plain to him and to everyone else that civil war must shortly follow. Cruelty on one side was answered by cruelty on the other, and Palissy had thrown in his lot with the Huguenots, and by his writings as well as his words urged them to take arms against the Catholics. Perhaps the artist in him may have grieved to hear of the destruction in the beautiful churches of the carved images of the saints that were broken by axes and hammers; of the pictures that were burned, or the old illuminated ma.n.u.scripts that were torn in pieces; but outwardly he gave his approval, and when things went against the Huguenots, even Palissy's powerful friends who admired his works could no longer shut their eyes. He was warned to change his ways, and as he did not the duke of Montpensier, then governor of the rebellious provinces, thought he would keep Palissy from greater mischief by putting him into prison. From Saintes he was sent to Bordeaux, where the magistrates, irritated at his having given the use of a tower which they had granted him for a studio as a meeting-place for Huguenots, ordered him into stricter confinement, while they debated whether the studio should be destroyed. But the constable of France, Anne de Montmorency, hearing of this proposal, hastened to the queen dowager, Catherine de Medicis, who came to the rescue by appointing him potter to the royal household. In this manner Palissy and his studio both escaped, and soon afterwards the Treaty of Amboise (1563) gave peace to both parties.

After this the happiest period of Palissy's life began. He was free, he was on the way to grow rich, and he had leisure to write down the thoughts and plans that had come to him long ago as a boy in his wanderings, or lately, in his lonely hours in prison. His children could be well provided for, and he need have no more anxiety about them. As to his wife, she appears to have been already dead when fortune at last visited him, and, indeed, she played but a small part in his life.

Now his first book was composed, and in it we can read about the gardens that Palissy hoped to lay out if his rich friends, Montmorency, or Montpensier, or Conde, or even the queen herself, would help him to carry out his designs.

The garden of Palissy's thoughts was to be very large, and certainly would cost a great deal of money. It was to be situated under a hill, so that the flowers and fruits might be protected from the winds, and many streams were to flow through it. Broad alleys would cross the garden, ending in arbours, some made of trees, trained or cut into different shapes, and filled with statues; others of different coloured stones, with lizards and vipers climbing upon the walls, while on the floor texts would be picked out in pebbles. Plants and flowers would hang from the roofs of the grottos, and beside them the rivulets would broaden into basins where real frogs and fish would gaze with surprise at their stone companions on the brink. Here and there the stream would be dammed up into a lake covered with tiny islands, and filled with forget-me-nots and water-lilies and pretty yellow irises, and at the next turn of the path the visitor would be delighted by a beautiful statue half hidden by a grove of trees. Catching sight of an inscription in the left hand of the figure, he would not resist stepping aside to read it, and as he was stooping to see what was written a jar of water in the figure's right hand would empty itself on his head.

[Ill.u.s.tration: A jar of water in the figure's right hands emptied itself on his head.]

Wet and cross, the visitor would pursue his way, taking care not to go near another statue standing alone in a wide gra.s.sy s.p.a.ce, with a ring dangling from its finger. The children or pages waiting on the lady of the house would, however, think that the flat lawn would be a splendid place in which to play at 'tilting at the ring,' and here was a ring just set up for the purpose. Hastily fetching their toy weapons, they would choose a starting-place and, holding their lances well back, run swiftly towards the statue, hoping to thrust the lance-point through the ring, as by-and-by they would have to do at the sports at a royal wedding or a coronation. But the moment the ring was touched a huge wet sponge would swing round from the back of the figure and hit the champion a sharp blow on the back of the head, to the great delight and surprise of his companions.

It was not a game that could be played twice on the same person, as Palissy well knew; but in those days great lords with trains of attendants frequently stopped at each other's houses on the way to their own lands, so that a constant supply of fresh pages might be looked for, all eager to play at tilting at the ring.

It was in 1565 that Palissy was sent for to Paris by the queen, to help her to decorate and lay out the gardens of the palace of the Tuileries, which she was now planning, close to the Louvre.

The very name of the place must have sounded home-like in the ears of Palissy, for Tuileries means nothing more than 'tile-fields,' and for a long while this part of Paris had been the workshop of brick-makers and potters outside the walls of the old city. But in the reign of Catherine's father-in-law, Francis I., they were forced to move further away, as the king had taken a fancy to the site, and had bought it for his mother. Gardens were made where the furnaces had stood; but these were by no means fine enough to please Catherine, and she called in her favourite architect, Philibert Delorme, to erect a palace in their place, and bade Palissy, now called 'Bernard of the Tuileries' by his friends, to invent her a new pleasure-ground stretching away to the west.

We may be sure that Palissy did not lose this happy chance of carrying into practice the 'delectable garden' of his dreams. He had his workshops and kilns on the spot, and a band of skilled potters who baked the figures of men and animals which he himself fashioned out of clay.

Two of his sons, Nicholas and Mathurin, seem to have inherited some of his talent, and were his partners, as we learn from a royal account book of the year 1570, and it must have been pleasant to him to have their company. The queen herself often walked down from the Louvre close by to see how he was getting on, and to give her opinion as to the grouping of some statues or the arrangement of a grotto; and here too came his friends when in Paris, Montmorency, Conde, Jarnac and others, and Delorme, Bullant, Filon, and all the great architects of the day. The chateau of Ecouen, belonging to Montmorency, situated about twelve miles from Paris, had been decorated by Palissy before he entered the service of the queen-mother, and had gained him great fame and many commissions.

At Ecouen the long galleries and the floor of the chapel were paved with tiles containing pictures of subjects taken out of the Bible. In the garden was the first 'grotto' the potter ever made, and very proud he was of it, and still more so of the invention by which, at a signal from the host, one of the attendants would touch a spring, and streams of water poured over the guests. It is difficult to imagine the grave constable, occupied as he was with religious wars, or anxiously watching affairs of state, playing such rude and silly tricks on the gentlemen and ladies he was entertaining, and it is pleasanter to think of them all listening to the songs of birds which, we are told, were imitated to the life by means of water pa.s.sing through pipes and reeds.

Altogether, Ecouen was thought a marvel of beauty and fancy, and everybody who considered they had any claims to good taste made a point of riding out to visit it.

Safe under royal protection and happy in his work, Palissy did not trouble himself about the fighting that still raged in the name of religion. When he was tired of the hot atmosphere of the kiln, he would wander along the banks of the river, or into the woods and hills about Paris, and watch the birds and the insects fluttering among the trees.

Then, with his mind full of what he had beheld, he would return to his workshop, and, calling for clay, would never rise from his chair until he had made an exact copy of the little scene which had caught his fancy. First he would form his oval-shaped dish, and in the centre of it would lie some twisted snakes, with sprays of leaves and flowers scattered round them, while over the cups of the flowers bees and b.u.t.terflies hovered gaily. Or, again, he would fashion a wavy sea, bordered by sh.e.l.ls of all sorts, fishes, frogs, leaves, and b.u.t.terflies, and in the middle a great sea-serpent wriggling gracefully across the dish.

Everything was true to nature and beautifully executed, and in those days it never seemed to strike anyone that dishes were meant to hold food and not to be treated as pictures.

Palissy had been working for eight years in Paris when the ma.s.sacre of St. Bartholomew took place. No one sought to harm the potter, Huguenot though he was, and he lived on peacefully, respected by all, for some time longer.

In 1574 Charles IX., the well-intentioned, half-mad young king, died, and his brother Henry, a man in every way much worse than himself, came to the throne. Like the rest of his family, however, he was fond of art, and protected the potter, and a few months later we find Palissy, quite unharmed, giving lectures on natural history to some of the most famous scientific men in Paris. If he wanted to prove a point he had a quant.i.ty of drawings or materials at hand to show them. He spoke well, and the fame of his lectures spread. The little room was soon filled to overflowing with lawyers, scholars, and, above all, physicians, the celebrated monsieur Ambroise Pare, doctor to the queen-mother, and a Huguenot like himself, at their head.

During nine years Palissy continued to deliver these lectures every Lent, working steadily most of the day among his furnaces at the Tuileries. He was now seventy-five, and had escaped so many dangers that he might well think himself safe to the end, which could not be far off.

But in 1585 Henry III. thought himself obliged to take more active measures against the Huguenots. Palissy had never concealed--as he had never obtruded--his faith, and, most likely at the instigation of someone who envied him, he was at once sent to the prison of the Bastille, and sentence of death pa.s.sed upon him.

Yet once again the potter's gift for making friends, perhaps the most valuable of all his talents in that fierce age, stood him in good stead.

This time it was actually one of the persecuting Guises, the duc de Mayenne, who saved him, and prevented the decree from being carried out.

For four years Palissy remained a prisoner. Mayenne desired to set him free, but did not dare to do so, so left him where he was till better times came. But Palissy had a surer friend than Mayenne, who came to his rescue. In spite of his strong frame, years pa.s.sed in a prison of those days, where hunger, cold, and dirt would break any man down, proved too much even for Bernard Palissy, now more than eighty years of age. Little by little he grew weaker, watched and tended, as far as might be, by those who, like himself, had suffered for conscience' sake. Then one evening he went to sleep, and woke in the Delectable Garden.