caused him to become reconciled to the church. His penitence does not seem to have survived his recovery. In June 1673, he fought at the Siege of Maastricht during which Louis XIV took the town from the Dutch. In 1679, his elder brother Henri died unmarried and Philibert therefore became comte de Toulongeon. He did not want to change his name to Toulongeon, but changed it from chevalier de Gramont to comte de Gramont, and his wife became comtesse. Henri had appointed him his heir and he inherited his brother's château at Séméac. On 31 December 1688 he was made a knight of the Order of the Holy Spirit in a ceremony performed in the Chapel of the Château de Versailles. This gave him the right to wear the blue sash called the cordon bleu that hangs over his right shoulder on his portrait. Children His wife gave him two children, daughters both: Claude Charlotte (c. 1665 – 1739), who married Henry Stafford-Howard, 1st Earl of Stafford Marie Élisabeth (1667–1729), who in 1695 became abbess of the in Lorraine Both were maids-of-honour to Maria Anna Victoria of Bavaria, whom the Grand Dauphin married in 1680. Saint-Simon comments that they did not have much success at the court. He also had a bastard daughter, born in Piedmont, at the siege of Trino: Giacomo or Jacques, daughter of Countess Theresia de' Medici, granddaughter of don Antonio de' Medici via his son Antonfrancesco. Memoirs He was 80 years old when he supplied his brother-in-law, Anthony Hamilton, with the material for his Mémoires. Hamilton said that they had been dictated to him, but no doubt he was the real author. The account of Gramont's early career was doubtless provided by himself, but Hamilton was probably more familiar with the history of the court of Charles II, which forms the most interesting part of the book. Moreover, Gramont, though he had a reputation for wit, was no writer, and there is no reason to suppose that he was capable of producing a work that remains a masterpiece of style and of witty portraiture. His biographer Hamilton was far superior as a writer to the comte de Gramont, but he relates the story of his hero without comment, and no condemnation of the prevalent code of morals is allowed to appear, unless by an occasional touch of irony. The portrait is drawn with such skill that