CONTENTS OF THE NINTH VOLUME. Portrait of MARY BEATRICE OF MODENA, engraved by MARY BEATRICE OF MODENA, QUEEN CONSORT OF JAMES II. KING OF GREAT CHAPTER I. Lely's portraits of Mary Beatrice-Her ancestry, parentage, birth-Death of her father-Educated by her mother-Anecdotes of her infancy-Brought up with her brother-Her mother's stern rule-Mary wishes to be a nun -Goes to the Carmelite convent-Her aunt-Her future husband-James duke of York-He commissions the earl of Peterborough to choose a new consort for him-Four ladies named-The earl sees a portrait of Mary d'Esté-Wishes to obtain her for the duke-Obstacles stated-He goes to look at the other ladies-Intrigues about the marriage at home-Mysterious letters from the court of Modena-Perplexity of the earl-His premature communication to the princess of Wirtemberg―The duke's marriage with Mary of Modena determined-Disappointment of Mary Anne of Wirtemberg-The earl goes incognito to Modena-Reluctance of the princess-Her innocence-Begs her aunt to marry the duke of York-First interview between Mary d'Esté and the ambassador-Her petulant behaviour-The pope refuses his dispensation to the marriageThe duchess of Modena's determination-Reluctant consent of the princess -Bishop of Modena refuses to solemnize the marriage-An English priest agrees to officiate-The espousals celebrated-The earl of Peterborough marries the princess as the proxy of the duke of York-Honours paid to him in that capacity-The bridal dinner and ball-Public rejoicings at Modena for the marriage of their princess-The duke of York receives the news and announces it to his brother's court. THE pencil of Lely has rendered every one familiar with the languishing dark eyes, classic features, and graceful form, of the Italian consort of James II.; that painter was never weary of multiplying portraits of a princess who completely realized his beau ideal of female loveliness, and who so well became the rich and picturesque costume which his exquisite taste had rendered the prevailing mode of the court of the second Charles. She appears to no less advantage, however, when depicted by him in the character of Innocence, without a single ornament to enhance her natural charms, such as she was when she came to England in the early ripeness of sweet fifteen, as the reluctant bride of the duke of York. We recognise her, in her youthful matron dignity, among "the 'light-o'-love' beauties," in the Hampton Court gallery, but distinguished from them by the vestal-like expression of her face. Her portraits, at a more advanced period of life, as queen of England, are among the finest specimens of sir Godfrey Kneller's art. Every one of these transcripts of the royal beauty, tells its progressive tale of melancholy interest, to the few who are intimately acquainted with the events of her life. Little, however, is now remembered in England of this queen, beyond the bare outline facts, that she was a princess of Modena, the consort of a dethroned and most unpopular sovereign, and the mother of the disinherited prince to whom the world applied the contemptuous epithet of "the Pretender." The conjugal tenderness of Matilda of Boulogne, of Eleanor of Castile, and of Philippa, is deservedly appreciated, the maternal devotion of Margaret of Anjou, the patience of the long-suffering Catharine of Arragon, have received their due meed of praise, for they have become matter of history; but the history of Mary of Modena, for obvious reasons, has never been given to the world. Bold, indeed, would have been any writer of the last century, who should have ventured to call attention to the virtues and the sufferings of the faithful consort of the last and most unfortunate of the Stuart kings. Among the princesses, who have worn the crown matrimonial of England, many have been born in a more elevated rank than Mary Beatrice of Modena; but few could boast of a more illustrious descent than she claimed as the daughter of the house of Esté. That family, so famous in the page of history, derives its name from the city of Esté, near the Euganean hills, between Verona and Padua; and surely no name is associated with nobler themes of interest, than the line of heroes, of whom Tasso, Ariosto, and Dante have sung: more than once did they repel the |