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+The Project Gutenberg eBook, Royal Palaces and Parks of France, by Milburg
+Francisco Mansfield, Illustrated by Blanche McManus
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Royal Palaces and Parks of France
+
+
+Author: Milburg Francisco Mansfield
+
+
+
+Release Date: June 19, 2008  [eBook #25842]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK ROYAL PALACES AND PARKS OF
+FRANCE***
+
+
+E-text prepared by Juliet Sutherland, Janet Blenkinship, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 25842-h.htm or 25842-h.zip:
+      (https://www.gutenberg.org/dirs/2/5/8/4/25842/25842-h/25842-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/5/8/4/25842/25842-h.zip)
+
+
+
+
+
+ROYAL PALACES AND PARKS OF FRANCE
+
+       *       *       *       *       *
+
+
+_WORKS OF
+
+FRANCIS MILTOUN_
+
+   _Rambles on the Riviera_                                          $2.50
+
+   _Rambles in Normandy_                                              2.50
+
+   _Rambles in Brittany_                                              2.50
+
+   _The Cathedrals and Churches of the Rhine_                         2.50
+
+   _The Cathedrals of Northern France_                                2.50
+
+   _The Cathedrals of Southern France_                                2.50
+
+   _In the Land of Mosques and Minarets_                              3.00
+
+   _Royal Palaces and Parks of France_                                3.00
+
+   _Castles and Chateaux of Old Touraine and the Loire Country_       3.00
+
+   _Castles and Chateaux of Old Navarre and the Basque Provinces_     3.00
+
+   _Castles and Chateaux of Old Burgundy and the Border Provinces_    3.00
+
+   _Italian Highways and Byways from a Motor Car_                     3.00
+
+   _The Automobilist Abroad_                                      net 3.00
+
+         (_Postage Extra_)
+
+_L. C. Page and Company_
+
+_53 Beacon Street, Boston, Mass._
+
+       *       *       *       *       *
+
+[Illustration: _Terrace of Henri IV, Saint Germain_ (_See page 286_)]
+
+[Illustration]
+
+ROYAL PALACES AND PARKS OF FRANCE
+
+by
+
+FRANCIS MILTOUN
+
+Author of "Castles and Chateaux of Old Touraine," "Castles
+and Chateaux of Old Burgundy," "Rambles in Normandy,"
+"Italian Highways and Byways
+from a Motor-Car," etc.
+
+With Many Illustrations
+Reproduced from paintings made on the spot by Blanche Mcmanus
+
+
+
+
+
+
+
+Boston
+L. C. Page & Company
+1910
+
+Copyright, 1910.
+by L. C. Page & Company.
+(Incorporated)
+All rights reserved
+
+First Impression, November, 1910
+
+Printed by
+The Colonial Press
+C. H. Simonds & Co., Boston, U. S. A.
+
+
+
+
+Preface
+
+     "A thousand years ago, by the rim of a tiny spring, a monk who had
+     avowed himself to the cult of Saint Saturnin, robed, cowled and
+     sandalled, knelt down to say a prayer to his beloved patron saint.
+     Again he came, this time followed by more of his kind, and a wooden
+     cross was planted by the side of the "Fontaine Belle Eau," by this
+     time become a place of pious pilgrimage. After the monk came a
+     king, the latter to hunt in the neighbouring forest."
+
+
+It was this old account of fact, or legend, that led the author and
+illustrator of this book to a full realization of the wealth of historic
+and romantic incidents connected with the French royal parks and
+palaces, incidents which the makers of guidebooks have passed over in
+favour of the, presumably, more important, well authenticated facts of
+history which are often the bare recitals of political rises and falls
+and dull chronologies of building up and tearing down.
+
+Much of the history of France was made in the great national forests and
+the royal country-houses of the kingdom, but usually it has been only
+the events of the capital which have been passed in review. To a great
+extent this history was of the gallant, daring kind, often written in
+blood, the sword replacing the pen.
+
+At times gayety reigned supreme, and at times it was sadness; but always
+the pageant was imposing.
+
+The day of pageants has passed, the day when lords and ladies moved
+through stately halls, when royal equipages hunted deer or boar on royal
+preserves, when gay cavalcades of solemn cortèges thronged the great
+French highways to the uttermost frontiers and ofttimes beyond. Those
+days have passed; but, to one who knows the real France, a ready-made
+setting is ever at hand if he would depart a little from the beaten
+paths worn smooth by railway and automobile tourists who follow only the
+lines of conventional travel.
+
+France, even to-day, the city and the country alike, is the paradise of
+European monarchs on a holiday. One may be met at Biarritz on the shores
+of the Gascon gulf; another may be taking the waters at Aix or Vichy,
+shooting pigeons under the shadow of the Tete de Chien, or hunting at
+Rambouillet. This is modern France, the most cosmopolitan meeting place
+and playground of royalty in the world.
+
+French royal parks and palaces, those of the kings and queens of
+mediæval, as well as later, times, differ greatly from those of other
+lands. This is perhaps not so much in their degree of splendour and
+luxury as in the sentiment which attaches itself to them. In France
+there has ever been a spirit of gayety and spontaneity unknown
+elsewhere. It was this which inspired the construction and maintenance
+of such magnificent royal residences as the palaces of Saint
+Germain-en-Laye, Fontainebleau, Versailles, Compiègne, Rambouillet,
+etc., quite different from the motives which caused the erection of the
+Louvre, the Tuileries or the Palais Cardinal at Paris.
+
+Nowhere else does there exist the equal of these inspired royal
+country-houses of France, and, when it comes to a consideration of their
+surrounding parks and gardens, or those royal hunting preserves in the
+vicinity of the Ile de France, or of those still further afield, at
+Rambouillet or in the Loire country, their superiority to similar
+domains beyond the frontiers is even more marked.
+
+In plan this book is a series of itineraries, at least the chapters are
+arranged, to a great extent in a topographical sequence; and, if the
+scope is not as wide as all France, it is because of the prominence
+already given to the parks and palaces of Touraine and elsewhere in the
+old French provinces in other works in which the artist and author have
+collaborated. It is for this reason that so little consideration has
+been given to Chambord, Amboise or Chenonceaux, which were as truly
+royal as any of that magnificent group of suburban Paris palaces which
+begins with Conflans and ends with Marly and Versailles.
+
+Going still further afield, there is in the Pyrenees that chateau, royal
+from all points of view, in which was born the gallant Henri of France
+and Navarre, but a consideration of that, too, has already been included
+in another volume.
+
+The present survey includes the royal dwellings of the capital, those of
+the faubourgs and the outlying districts far enough from town to be
+recognized as in the country, and still others as remote as Rambouillet,
+Chantilly and Compiègne. All, however, were intimately connected with
+the life of the capital in the mediæval and Renaissance days, and
+together form a class distinct from any other monumental edifices which
+exist, or ever have existed, in France.
+
+Mere historic fact has been subordinated as far as possible to a recital
+of such picturesque incidents of the life of contemporary times as the
+old writers have handed down to us, and a complete chronological review
+has in no manner been attempted.
+
+
+
+
+Contents
+
+   CHAPTER                                                 PAGE
+
+       I. INTRODUCTORY                                       13
+      II. THE EVOLUTION OF FRENCH GARDENS                    14
+     III. THE ROYAL HUNT IN FRANCE                           43
+      IV. THE PALAIS DE LA CITÉ AND TOURNELLES               61
+       V. THE OLD LOUVRE AND ITS HISTORY                     75
+      VI. THE LOUVRE OF FRANCIS I AND ITS SUCCESSORS         85
+     VII. THE TUILERIES AND ITS GARDENS                     106
+    VIII. THE PALAIS CARDINAL AND THE PALAIS
+          ROYAL                                             131
+      IX. THE LUXEMBOURG, THE ELYSÉE AND THE
+          PALAIS BOURBON                                    151
+      X.  VINCENNES AND CONFLANS                            168
+     XI.  FONTAINEBLEAU AND ITS FOREST                      180
+     XII. BY THE BANKS OF THE SEINE                         203
+    XIII. MALMAISON AND MARLY                               215
+     XIV. SAINT CLOUD AND ITS PARK                          229
+      XV. VERSAILLES: THE GLORY OF FRANCE                   244
+     XVI. THE GARDENS OF VERSAILLES AND THE TRIANONS        260
+    XVII. SAINT GERMAIN-EN-LAYE                             279
+   XVIII. MAINTENON                                         296
+     XIX. RAMBOUILLET AND ITS FOREST                        309
+      XX. CHANTILLY                                         324
+     XXI. COMPIÈGNE AND ITS FOREST                          342
+          INDEX                                             363
+
+
+
+
+[Illustration: List of Illustrations]
+
+
+         PAGE
+
+   TERRACE OF HENRI IV, SAINT GERMAIN (_see page 286_)       _Frontispiece_
+   THE LOUVRE, THE TUILERIES AND THE PALAIS ROYAL OF TO-DAY  _facing_   12
+   "JARDIN FRANÇAIS--JARDIN ANGLAIS"                                    15
+   HENRI IV IN AN OLD FRENCH GARDEN                          _facing_   20
+   PARTERRE DE DIANE, CHENONCEAUX                                       27
+   PLAN OF SUNKEN GARDEN (JARDIN CREUX)                                 30
+   A PARTERRE      _facing_ 32
+   BASSIN DE LA COURONNE, VAUX-LE-VICOMTE                    _facing_   42
+   A "CURÉE AUX FLAMBEAUX"                                   _facing_   46
+   AN IMPERIAL HUNT AT FONTAINEBLEAU                         _facing_   52
+   RENDEZVOUS DE CHASSE, RAMBOUILLET                         _facing_   56
+   BIRD'S EYE VIEW OF OLD PARIS (Map)                        _facing_   74
+   THE XIV CENTURY LOUVRE                                    _facing_   82
+   THE LOUVRE                                                _facing_   90
+   ORIGINAL PLAN OF THE TUILERIES (Diagram)                            106
+   SALLE DES MARECHAUX, TUILERIES                            _facing_  116
+   THE GALLERIES OF THE PALAIS ROYAL                                   146
+   BOURBON-ORLEANS DESCENDANTS OF LOUIS PHILIPPE (Diagram)   _facing_  146
+   PALAIS DU LUXEMBOURG                                      _facing_  154
+   DOOR IN THRONE ROOM, LUXEMBOURG                                     156
+   THE PETIT LUXEMBOURG                                      _facing_  156
+   THE LUXEMBOURG GARDENS                                    _facing_  158
+   THE THRONE OF THE PALAIS BOURBON                                    161
+   VINCENNES UNDER CHARLES V                                           168
+   CHATEAU DE VINCENNES                                      _facing_  172
+   A HUNT UNDER THE WALLS OF VINCENNES                       _facing_  174
+   CONFLANS                                                            176
+   ORIGINAL PLAN OF FONTAINEBLEAU                                      180
+   FROM PARIS TO FONTAINEBLEAU (Map)                         _facing_  180
+   PALAIS DE FONTAINEBLEAU                                   _facing_  186
+   SALLE DU THRONE, FONTAINEBLEAU                            _facing_  190
+   FRAGMENTS FROM FONTAINEBLEAU                              _facing_  192
+   CHEMINÉE DE LA REINE, FONTAINEBLEAU                       _facing_  194
+   MONUMENT TO ROUSSEAU AND MILLET AT BARBISON               _facing_  200
+   CHATEAU DE BAGATELLE                                                204
+   CHATEAU DE MALMAISON                                      _facing_  218
+   THE GARDENS OF SAINT CLOUD                                _facing_  236
+   THE CASCADES AT SAINT CLOUD                               _facing_  240
+   COUR DE MARBRE, VERSAILLES                                _facing_  264
+   THE POTAGER DU ROY, VERSAILLES                            _facing_  270
+   THE BASSIN DE LATONE, VERSAILLES                          _facing_  272
+   THE FOUNTAIN OF NEPTUNE, VERSAILLES                       _facing_  274
+   PETIT TRIANON                                             _facing_  276
+   LAITERIE DE LA REINE, PETIT TRIANON                                 277
+   SAINT GERMAIN (Diagram)                                             280
+   THE VALLEY OF THE SEINE, FROM THE TERRACE AT SAINT
+     GERMAIN                                                 _facing_  288
+   FAUTEUIL OF MME. DE MAINTENON                                       297
+   CHATEAU DE MAINTENON                                      _facing_  300
+   AQUEDUCT OF LOUIS XIV AT MAINTENON                        _facing_  306
+   CHATEAU DE RAMBOUILLET (Diagram)                                    309
+   LAITERIE DE LA REINE, RAMBOUILLET                         _facing_  312
+   CHATEAU DE RAMBOUILLET                                    _facing_  316
+   CHANTILLY (Diagram)                                                 325
+   STATUE OF LE NOTRE, CHANTILLY                             _facing_  326
+   CHATEAU DE CHANTILLY                                      _facing_  336
+   COMPIÈGNE (Diagram)                                                 343
+   NAPOLEON'S BEDCHAMBER, COMPIÈGNE                          _facing_  352
+   COURS DE COMPIÈGNE                                        _facing_  356
+
+
+
+
+Royal Palaces and Parks of France
+
+
+
+
+CHAPTER I
+
+INTRODUCTORY
+
+
+The modern traveller sees something beyond mere facts. Historical
+material as identified with the life of some great architectural glory
+is something more than a mere repetition of chronologies; the sidelights
+and the co-related incidents, though indeed many of them may be but
+hearsay, are quite as interesting, quite as necessary, in fact, for the
+proper appreciation of a famous palace or chateau as long columns of
+dates, or an evolved genealogical tree which attempts to make plain that
+which could be better left unexplained. The glamour of history would be
+considerably dimmed if everything was explained, and a very seamy block
+of marble may be chiselled into a very acceptable statue if the workman
+but knows how to avoid the doubtful parts.
+
+An itinerary that follows not only the ridges, but occasionally plunges
+down into the hollows and turns up or down such crossroads as may have
+chanced to look inviting, is perhaps more interesting than one laid out
+on conventional lines. A shadowy something, which for a better name may
+be called sentiment, if given full play encourages these side-steps, and
+since they are generally found fruitful, and often not too fatiguing,
+the procedure should be given every encouragement.
+
+Not all the interesting royal palaces and chateaux of France are those
+with the best known names. Not all front on Paris streets and quays, no
+more than the best glimpses of ancient or modern France are to be had
+from the benches of a sight-seeing automobile.
+
+Versailles, and even Fontainebleau, are too frequently considered as but
+the end of a half-day pilgrimage for the tripper. It were better that
+one should approach them more slowly, and by easy stages, and leave them
+less hurriedly. As for those architectural monuments of kings, which
+were tuned in a minor key, they, at all events, need to be hunted down
+on the spot, the enthusiast being forearmed with such scraps of historic
+fact as he can gather beforehand, otherwise he will see nothing at
+Conflans, Marly or Bourg-la-Reine which will suggest that royalty ever
+had the slightest concern therewith.
+
+Dealing first with Paris it is evident it is there that the pilgrim to
+French shrines must make his most profound obeisance. This applies as
+well to palaces as to churches. In all cases one goes back into the past
+to make a start, and old Paris, what there is left of it, is still old
+Paris, though one has to leave the grand boulevards to find this out.
+
+Colberts and Haussmanns do not live to-day, or if they do they have
+become so "practical" that a drainage canal or an overhead or
+underground railway is more of a civic improvement than the laying out
+of a public park, like the gardens of the Tuileries, or the building and
+embellishment of a public edifice--at least with due regard for the best
+traditions. When the monarchs of old called in men of taste and culture
+instead of "business men" they builded in the most agreeable fashion. We
+have not improved things with our "systems" and our committees of
+"_hommes d'affaires_."
+
+It is the fashion to-day to decry the cavaliers and the wearers of
+"love-locks," but they had a pretty taste in art and an eye for artistic
+surroundings, those old fellows of the sword and cloak; a much more
+pretty taste than their descendants, the steam-heat and running-water
+partisans of to-day. Louis XV and Empire drawing and dining-rooms are
+everywhere advertised as the attractions of the great palace hotels, and
+some of them are very good copies of their predecessors, though one
+cannot help but feel that the clientele as a whole is more insistent on
+telephones in the bedrooms and auto-taxis always on tap than with regard
+to the sentiment of good taste and good cheer which is to be evoked by
+eating even a hurried meal in a room which reproduces some historically
+famous Salle des Gardes or the Chambre of the OEil de Boeuf of the
+Louvre, if, indeed, most of the hungry folk know what their surroundings
+are supposed to represent.
+
+Any chronicle which attempts to set down a record of the comings and
+goings of French monarchs is saved from being a mere dull chronology of
+dates and résumé of facts by its obligatory references to the architects
+and builders who made possible the splendid settings amid which these
+picturesque rulers passed their lives.
+
+The castle builders of France, the garden designers, the architects,
+decorators and craftsmen of all ranks produced not a medley, but a
+coherent, cohesive whole, which stands apart from, and far ahead of,
+most of the contemporary work of its kind in other lands. Castles and
+keeps were of one sort in England and Scotland, of still another along
+the Rhine, and if the Renaissance palaces and chateaux first came into
+being in Italy it is certain they never grew to the flowering luxuriance
+there that they did in France.
+
+Thus does France establish itself as leader in new movements once again.
+It was so in the olden time with the arts of the architect, the
+landscape gardener and the painter; it is so to-day with respect to such
+mundane, less sentimental things as automobiles and aeroplanes.
+
+Another chapter, in a story long since started, is a repetition, or
+review, of the outdoor life of the French monarchs and their followers.
+Not only did Frenchmen of Gothic and Renaissance times have a taste for
+travelling far afield, pursuing the arts of peace or war as their
+conscience or conditions dictated; but they loved, too, the open country
+and the open road at home; they loved also _la chasse_, as they did
+tournaments, _fêtes-champêtres_ and outdoor spectacles of all kinds. Add
+these stage settings to the splendid costuming and the flamboyant
+architectural accessories of Renaissance times in France and we have
+what is assuredly not to be found in other lands, a spectacular and
+imposing pageant of mediæval and Renaissance life and manners which is
+superlative from all points of view.
+
+This is perhaps hard, sometimes, to reconcile with the French attitude
+towards outdoor life to-day, when _la chasse_ means the hunting of tame
+foxes (a sport which has been imported from across the channel),
+"_sport_" means a prize fight, and a garden party or a _fête-champêtre_
+a mere gossiping rendezvous over a cup of badly made tea. In the France
+of the olden time they did things differently--and better.
+
+Not all French history was made, or written, within palace walls; much
+of it came into being in the open air, like the two famous meetings by
+the Bidassoa, Napoleon's first sight of Marie Louise on the highroad
+leading out from Senlis, or his making the Pope a prisoner at the Croix
+de Saint Héram, in the Forest of Fontainebleau.
+
+It is this change of scene that makes French history so appealing to
+those who might otherwise let it remain in shut-up and dry-as-dust books
+on library shelves.
+
+The French monarchs of old were indeed great travellers, and it is by
+virtue of the fact that affairs of state were often promulgated and
+consummated _en voyage_ that a royal stamp came to be acquired by many a
+chateau or country-house which to-day would hardly otherwise be
+considered as of royal rank.
+
+Throughout France, notably in the neighbourhood of Paris, are certain
+chateaux--palaces only by lack of name--of the nobility where royalties
+were often as much at home as under their own royal standards. One
+cannot attempt to confine the limits where these chateaux are to be
+found, for they actually covered the length and breadth of France.
+
+Journeying afield in those romantic times was probably as comfortably
+accomplished, by monarchs at least, as it is to-day. What was lacking
+was speed, but they lodged at night under roofs as hospitable as those
+of the white and gold caravanserai (and some more humble) which perforce
+come to be temporary abiding places of royalties _en tour_ to-day. The
+writer has seen the Dowager Queen of Italy lunching at a neighbouring
+table at a roadside _trattoria_ in Piedmont which would have no class
+distinction whatever as compared with the average suburban road-house
+across the Atlantic. At Biarritz, too, the automobiling monarch,
+Alphonse XIII, has been known to take "tea" on the terrace of the great
+tourist-peopled hotel in company with mere be-goggled commoners. _Le
+temps va!_ Were monarchs so democratic in the olden time, one wonders.
+
+The court chronicles of all ages, and all ranks, have proved a gold
+mine for the makers of books of all sorts and conditions. Not only court
+chroniclers but pamphleteers, even troubadours and players, have
+contributed much to the records of the life of mediæval France. All
+history was not made by political intrigue or presumption; a good deal
+of it was born of the gentler passions, and a chap-book maker would put
+often into print many accounts which the recorder of mere history did
+not dare use. History is often enough sorry stuff when it comes to human
+interest, and it needs editing only too often.
+
+Courtiers and the fashionable world of France, ever since the days of
+the poetry-making and ballad-singing Francis and Marguerite, and before,
+for that matter, made of literature--at least the written and spoken
+chronicle of some sort--a diversion and an accomplishment. Royal or
+official patronage given these mediæval story-tellers did not always
+produce the truest tales. Then, as now, writer folk were wont to
+exaggerate, but most of their work made interesting reading.
+
+These courtiers of the itching pen did not often write for money. Royal
+favour, or that of some fair lady, or ladies, was their chief return in
+many more cases than those for which their accounts were settled by mere
+dross. It is in the work of such chroniclers as these that one finds a
+fund of unrepeated historic lore.
+
+The dramatists came on the scene with their plots ready-made (and have
+been coming ever since, if one recalls the large number of French
+costume plays of recent years), and whether they introduced errors of
+fact, or not, there was usually so much truth about their work that the
+very historians more than once were obliged to have recourse to the
+productions of their colleagues. The dramatists' early days in France,
+as in England, were their golden days. The mere literary man, or
+chronicler, was often flayed alive, but the dramatist, even though he
+dished up the foibles of a king, and without any dressing at that, was
+fêted and made as much of as a record piano player of to-day.
+
+One hears a lot about the deathbed scribblers in England in the
+sixteenth and seventeenth centuries, but there was not much of that sort
+of thing in France. No one here penned bitter jibes and lascivious
+verses merely to keep out of jail, as did Nash and Marlowe in England.
+In short, one must give due credit to the court chroniclers and
+ballad-singers of France as being something more than mere pilfering,
+blackmailing hacks.
+
+All the French court and its followers in the sixteenth century shouted
+epigrams and affected being greater poets than they really were. It was
+a good sign, and it left its impress on French literature. Following in
+the footsteps of Francis I and the two Marguerites nobles vied with each
+other in their efforts to produce some epoch-making work of poesy or
+prose, and while they did not often publish for profit they were glad
+enough to see themselves in print. Then there were also the professional
+men of letters, as distinct from the courtiers with literary ambitions,
+the churchmen and courtly attachés of all ranks with the literary bee
+humming in their bonnets. They, too, left behind them an imposing
+record, which has been very useful to others coming after who were
+concerned with getting a local colour of a brand which should look
+natural.
+
+It is with such guiding lights as are suggested by the foregoing résumé
+that one seeks his clues for the repicturing of the circumstances under
+which French royal palaces were erected, as well as for the truthful
+repetition of the ceremonies and functions of the times, for the court
+life of old, whether in city palace or country chateau, was a very
+different thing from that of the Republican régime of to-day.
+
+Not only were the royal Paris dwellings, from the earliest times, of a
+profound luxuriance of design and execution, but the private hotels, the
+palaces, one may well say, of the nobility were of the same superlative
+order, and kings and queens alike did not disdain to lodge therein on
+such occasions as suited their convenience. The suggestive comparison is
+made because of the close liens with which royalty and the higher
+nobility were bound.
+
+It is sufficient to recall, among others of this class, the celebrated
+Hotel de Beauvais which will illustrate the reference. Not only was this
+magnificent town house of palatial dimensions, but it was the envy of
+the monarchs themselves, because of its refined elegance of
+construction. This edifice exists to-day, in part, at No. 68 Rue
+François Miron, and the visitor may judge for himself as to its former
+elegance.
+
+Loret, in his "Gazette" in verse, recounts a visit made to the Hotel de
+Beauvais in 1663 by Marie Thérèse, the Queen of Louis XIV.
+
+   Mercredi, notre auguste Reine,
+   Cette charmante souveraine,
+   Fut chez Madame de Beauvais
+   Pour de son amiable palais
+   Voir les merveilles étonnantes
+   Et les raretés surprenantes.
+
+Times have changed, for the worse or for the better. The sedan-chair and
+the coach have given way to the automobile and the engine, and the wood
+fire to a stale calorifer, or perhaps a gas-log.
+
+The comparisons _are_ odious; there is no question as to this; but it is
+by contrast that the subject is made the more interesting.
+
+From the old Palais des Thermes (now a part of the Musée de Cluny) of
+the Roman emperors down through the Palais de la Cité (where lodged the
+kings of the first and second races) to the modern installations of the
+Louvre is a matter of twelve centuries. The record is by no means a
+consecutive one, but a record exists which embraces a dozen, at least,
+of the Paris abodes of royalty, where indeed they lived according to
+many varying scales of comfort and luxury.
+
+Not all the succeeding French monarchs had the abilities or the
+inclinations that enabled them to keep up to the traditions of the
+art-loving Francis I, but almost all of their number did something
+creditable in building or decoration, or commanded it to be done.
+
+Louis XIV, though he delayed the adjustment of Europe for two centuries,
+was the first real beautifier of Paris since Philippe Auguste. Privately
+his taste in art and architecture was rather ridiculous, but publicly he
+and his architects achieved great things in the general scheme.
+
+[Illustration: _The_ Louvre _The_ Tuileries & _The_ Palais Royal _of_
+To-Day]
+
+Napoleon I, in turn, caught up with things in a political sense, in
+truth he ran ahead of them, but he in no way neglected the
+embellishments of the capital, and added a new wing to the Louvre, and
+filled Musées with stolen loot, which remorse, or popular clamour,
+induced him, for the most part, to return at a later day.
+
+In a decade Napoleon made much history, and he likewise did much for the
+royal palaces of France. After him a gap supervened until the advent of
+Napoleon III, who, weakling that he was, had the perspicacity to give
+the Baron Haussmann a chance to play his part in the making of modern
+Paris, and if the Tuileries and Saint Cloud had not disappeared as a
+result of his indiscretion the period of the Second Empire would not
+have been at all discreditable, as far as the impress it left on Paris
+was concerned.
+
+
+
+
+CHAPTER II
+
+THE EVOLUTION OF FRENCH GARDENS
+
+
+The French garden was a creation of all epochs from the fifteenth to the
+seventeenth centuries, and, for the most part, those of to-day and of
+later decades of the nineteenth century, are adaptations and
+restorations of the classic accepted forms.
+
+From the modest _jardinet_ of the moyen-age to the ample gardens and
+_parterres_ of the Renaissance was a wide range. In their highest
+expression these early French gardens, with their _broderies_ and
+_carreaux_ may well be compared as works of art with contemporary
+structures in stone or wood or stuffs in woven tapestries, which latter
+they greatly resembled.
+
+Under Louis XIV and Louis XV the elaborateness of the French garden was
+even more an accentuated epitome of the tastes of the period. Near the
+end of the eighteenth century a marked deterioration was noticeable and
+a separation of the tastes which ordained the arrangement of
+contemporary dwellings and their gardens was very apparent. Under the
+Empire the antique style of furniture and decoration was used too, but
+there was no contemporary expression with regard to garden making.
+
+[Illustration: JARDIN FRANÇAIS
+
+JARDIN ANGLAIS]
+
+In the second half of the nineteenth century, under the Second Empire,
+the symmetrical lines of the old-time _parterres_ came again into being,
+and to them were attached composite elements or motives, which more
+closely resembled details of the conventional English garden than
+anything distinctly French.
+
+The English garden was, for the most part, pure affectation in France,
+or, at best, it was treated as a frank exotic. Even to-day, in modern
+France, where an old dwelling of the period of Henri IV, François I,
+Louis XIII, Louis XIV, or Louis XV still exists with its garden, the
+latter is more often than not on the classically pure French lines,
+while that of a modern cottage, villa or chateau is often a poor,
+variegated thing, fantastic to distraction.
+
+Turning back the pages of history one finds that each people, each
+century, possessed its own specious variety of garden; a species which
+responded sufficiently to the tastes and necessities of the people, to
+their habits and their aspirations.
+
+Garden-making, like the art of the architect, differed greatly in
+succeeding centuries, and it is for this reason that the garden of the
+moyen-age, of the epoch of the Crusades, for example, did not bear the
+least resemblance to the more ample _parterres_ of the Renaissance.
+Civilization was making great progress, and it was necessary that the
+gardens should be in keeping with a less restrained, more luxurious
+method of life.
+
+If the gardens of the Renaissance marked a progress over the _preaux_
+and _jardinets_ of mediævalism, those of Le Notre were a blossoming
+forth of the Renaissance seed. Regretfully, one cannot say as much for
+the garden plots of the eighteenth century, and it was only with the
+mid-nineteenth century that the general outlines took on a real charm
+and attractiveness again, and this was only achieved by going back to
+original principles.
+
+The first gardens were the _vergers_ and _preaux_, little checker-board
+squares of a painful primitiveness as compared with later standards.
+These squares, or _carreaux_, were often laid out in foliage and
+blossoming plants as suggestive as possible of their being made of
+carpeting or marble. When these miniature enclosures came to be
+surrounded with trellises and walls the Renaissance in garden-making may
+be considered as having been in full sway.
+
+Under Louis XIV a certain affluence was noticeable in garden plots, and
+with Louis XV an even more notable symmetry was apparent in the
+disposition of the general outlines. By this time, the garden in France
+had become a frame which set off the architectural charms of the
+dwelling rather than remaining a mere accessory, but it was only with
+the replacing of the castle-fortress by the more domesticated chateau
+that a really generous garden space became a definite attribute of a
+great house.
+
+The first gardens surrounding the French chateaux were developments, or
+adaptations, of Italian gardens, such as were designed across the Alps
+by Mercogliano, during the feudal period.
+
+Later, and during the time of the Crusades, the garden question hardly
+entered into French life. Gardens, like all other luxuries, were given
+little thought when the graver questions of peace and security were to
+be considered, and, for this reason, there is little or nothing to say
+of French gardens previous to the twelfth century.
+
+An important species of the gardens of the moyen-age was that which was
+found as an adjunct to the great monastic institutions, the _preaux_,
+which were usually surrounded by the cloister colonnade. One of the most
+important of these, of which history makes mention, was that of the
+Abbaye de Saint Gall, of which Charlemagne was capitular. It was he who
+selected the plants and vegetables which the dwellers therein should
+cultivate.
+
+Of the twelfth and thirteenth centuries there is an abundant literary
+record, and, in a way, a pictorial record as well. From these one can
+make a very good deduction of what the garden of that day was like;
+still restrained, but yet something more than rudimentary. From now on
+French gardens were divided specifically into the _potager_ and
+_verger_.
+
+The _potager_ was virtually a vegetable garden within the walls which
+surrounded the seigneurial dwelling, and was of necessity of very
+limited extent, chiefly laid out in tiny _carreaux_, or beds, bordered
+by tiles or bricks, much as a small city garden is arranged to-day. Here
+were cultivated the commonest vegetables, a few flowers and a liberal
+assortment of herbs, such as rue, mint, parsley, sage, lavender, etc.
+
+The _verger_, or _viridarium_, was practically a fruit garden, as it is
+to-day, with perhaps a generous sprinkling of flowers and aromatic
+plants. The _verger_ was always outside the walls, but not far from the
+entrance or the drawbridge crossing the moat and leading to the chateau.
+
+It was to the _verger_, or orchard, curiously enough, that in times of
+peace the seigneur and his family retired after luncheon for diversion
+or repose.
+
+   "D illocques vieng en cest vergier
+   Eascuns jour pour s'esbanoier."
+
+Thus ran a couplet of the "Roman de Thèbes"; and of the hundred or more
+tales of chivalry in verse, which are recognized as classic, nearly all
+make mention of the _verger_.
+
+It was here that young men and maidens came in springtime for the fête
+of flowers, when they wove chaplets and garlands, for the moyen-age had
+preserved the antique custom of the coiffure of flowers, that is to say
+hats of natural flowers, as we might call them to-day, except that
+modern hats seemingly call for most of the products of the barnyard and
+the farm in their decoration, as well as the flowers of the field.
+
+The rose was queen among all these flowers and then came the lily and
+the carnation, chiefly in their simple, savage state, not the highly
+cultivated product of to-day. From the ballads and the love songs, one
+gathers that there were also violets, eglantine, daisies, pansies,
+forget-me-nots, and the marguerite, or _consoude_, was one of the most
+loved of all.
+
+The carnation, or _oeillet_, was called _armerie_; the pansy was
+particularly in favour with the ladies, who embroidered it on their
+handkerchiefs and their girdles. Still other flowers found a place in
+this early horticultural catalogue, the marigold, gladiolus, stocks,
+lily-of-the-valley and buttercups.
+
+Frequently the _verger_ was surrounded by a protecting wall, of more or
+less architectural pretense, with towers and accessories conforming to
+the style of the period, and decorative and utilitarian fountains,
+benches and seats were also common accessories.
+
+[Illustration: _Henri IV in an Old French Garden_]
+
+The old prints, which reproduced these early French gardens, are most
+curious to study, amusing even; but their point of view was often
+distorted as to perspective. In the thirteenth and fourteenth centuries,
+perspective was almost wholly ignored in pictorial records. There was
+often no scale, and no depth; everything was out of proportion with
+everything else, and for this reason it is difficult to judge of the
+exact proportions of many of these early French gardens.
+
+The origin of garden-making in France, in the best accepted sense of the
+term, properly began with the later years of the thirteenth century and
+the early years of the fourteenth; continuing the tradition, remained
+distinctly French until the mid-fifteenth century, for the Italian
+influence did not begin to make itself felt until after the Italian wars
+and travels of Charles VIII, Louis XI and Francis I.
+
+The earliest traces of the work of the first two of these monarchs are
+to be seen at Blois and, for a time henceforth, it is to be presumed
+that all royal gardens in France were largely conceived under the
+inspiration of Italian influences. Before, as there were primitives in
+the art of painting in France, there were certainly French gardeners in
+the fourteenth and fifteenth centuries. One of these, whoever he may
+have been, was the designer of the _preaux_ and the _treilles_ of the
+Louvre of Charles V, of which a pictorial record exists, and he, or
+they, did work of a like nature for the powerful house of Bourgogne, and
+for René d'Anjou, whom we know was a great amateur gardener.
+
+The archives of these princely houses often recount the expenses in
+detail, and so numerous are certain of them that it would not be
+difficult to picture anew as to just what they referred.
+
+Debanes, the gardener of the Chateau d'Angers, on a certain occasion,
+gave an accounting for "X Sols" for repairing the grass-plots and for
+making a _petit preau_. Again: "XI Sols" for the employ of six gardeners
+to trim the vines and clean up the alleys of the _grand_ and _petit
+jardin_.
+
+Luxury in all things settled down upon all France to a greater degree
+than hitherto in the fourteenth and fifteenth centuries, and almost
+without exception princely houses set out to rival one another in the
+splendour of their surroundings. Now came in the ornamental garden as
+distinct from the _verger_, and the _preau_ became a greensward
+accessory, at once practical and decorative, the precursor of the
+_pelouse_ and the _parterre_ of Le Notre.
+
+The _preau_ (in old French _prael_) was a symmetrical square or
+rectangular grass-grown garden plot. From the Latin _pratum_, or
+_pratellum_, the words _preau_, _pré_ and _prairie_ were evolved
+naturally enough, and came thus early to be applied in France to that
+portion of the pleasure garden set out as a grassy lawn. The word is
+very ancient, and has come down to us through the monkish vocabulary of
+the cloister.
+
+Some celebrated verse of Christine de Pisan, who wrote "The Life of
+Charles V," thus describes the cloister at Poissy.
+
+   "Du cloistre grand large et especieux
+   Que est carré, et, afin qu'il soit mieulx
+   A un prael, ou milieu, gracieux
+   Vert sans grappin
+   Ou a planté en my un très hault pin."
+
+It was at this period, that of Saint Louis and the apotheosis of Gothic
+architecture, that France was at the head of European civilization,
+therefore in no way can her preëminence in garden-making be questioned.
+
+The gardens of the Gothic era seldom surpassed the _enclos_ with a
+rivulet passing through it, a spring, a pine tree giving a welcome
+shade, some simple flowers and a _verger_ of fruit trees.
+
+The neighbours of France were often warring among themselves but the
+Grand Seigneur here was settling down to beautifying his surroundings
+and framing his chateaux, manors and country-seats in dignified and most
+appealing pictures. Grass-plots appeared in dooryards, flowers climbed
+up along castle walls and shrubs and trees came to play a genuinely
+esthetic rôle in the life of the times.
+
+An illustrious stranger, banished from Italy, one Brunetto Latini, the
+master of Dante, who had sought a refuge in France, wrote his views on
+the matter, which in substance were as above.
+
+About this time originated the progenitors of the _gloriettes_, which
+became so greatly the vogue in the eighteenth century. Practically the
+_gloriette_, a word in common use in northern France and in Flanders,
+was a _logette de plaisance_. The Spaniards, too, in their _glorietta_,
+a pavilion in a garden, had practically the same signification of the
+word.
+
+In the fourteenth century French garden the _gloriette_ was a sort of
+arbour, or trellis-like summer-house, garnished with vines and often
+perched upon a natural or artificial eminence. Other fast developing
+details of the French garden were tree-bordered alleys and the planting
+of more or less regularly set-out beds of flowering plants.
+
+Vine trellises and vine-clad pavilions and groves were a speedy
+development of these details, and played parts of considerable
+importance in gardening under the French Renaissance.
+
+In this same connection there is a very precise record in an account of
+the gardens of the Louvre under Charles V concerning the contribution of
+one, Jean Baril, maker of Arlors, to this form of the landscape
+architect's art.
+
+"Ornamental birds--peacocks, pheasants and swans now came in as adjuncts
+to the French land and water garden." This was the way a certain
+pertinent comment was made by a writer of the fifteenth century. From
+the "Ménagier de Paris," a work of the end of the fourteenth century,
+one learns that behind a dwelling of a prince or noble of the time was
+usually to be found a "_beau jardin tout planté d'arbres à fruits, de
+legumes, de rosiers, orné de volières et tapisé de gazon sur lesquels se
+promènent les paons_."
+
+French gardens of various epochs are readily distinguished by the width
+of their alleys. In the moyen-age the paths which separated the garden
+plots were very narrow; in the early Renaissance period they were
+somewhat wider, taking on a supreme maximum in the gardens of Le Notre.
+
+Trimmed trees entered into the general scheme in France towards the end
+of the fifteenth century. Under Henri IV and under Louis XII trees were
+often trimmed in ungainly, fantastic forms, but with the advent of Le
+Notre the good taste which he propagated so widely promptly rejected
+these grotesques, which, for a fact, were an importation from Flanders,
+like the _gloriettes_. Not by the remotest suggestion could a clipped
+yew in the form of a peacock or a giraffe be called French. Le Notre
+eliminated the menagerie and the aviary, but kept certain geometrical
+forms, particularly with respect to hedges, where niches were frequently
+trimmed out for the placing of statues, columns surmounted with golden
+balls, etc.
+
+The most famous of the frankly Renaissance gardens developed as a result
+of the migrations of the French monarchs in Italy were those surrounding
+such palaces and chateaux as Fontainebleau, Amboise, and Blois. Often
+these manifestly French gardens, though of Italian inspiration in the
+first instance, were actually the work of Italian craftsmen. Pucello
+Marceliano at four hundred _livres_ and Edme Marceliano at two hundred
+_livres_ were in the employ of Henri II. It was the former who laid out
+the magnificent _Parterre de Diane_ at Chenonceaux, where Catherine de
+Médici later, being smitten with the skill of the Florentines, gave the
+further commission of the _Jardin Vert_, which was intended to complete
+this _parterre_, to Henri le Calabrese and Jean Collo.
+
+The later Renaissance gardens divided themselves into various classes,
+_jardins de plaisir_, _jardins de plaisance_, _jardins de propreté_,
+etc. _Parterres_ now became of two sorts, _parterres à compartiments_
+and _parterres de broderies_, names sufficiently explicit not to need
+further comment.
+
+[Illustration: _"Parterre de Diane," Chenonceaux_]
+
+It is difficult to determine just how garden _broderies_ came into
+being. They may have been indirectly due to woman's love of embroidery
+and the garden alike. The making of these garden _broderies_ was a
+highly cultivated art. Pierre Vallet, embroiderer to Henri IV, created
+much in his line of distinction and note, and acquired an extensive
+clientele for his flowers and models. Often these gardens, with their
+_parterres_ and _broderies_ were mere additions to an already existing
+architectural scheme, but with respect to the gardens of the Luxembourg
+and Saint Germain-en-Laye they came into being with the edifices
+themselves, or at least those portions which they were supposed to
+embellish. Harmony was then first struck between the works of the
+horticulturist--the garden-maker--and those of the architect--the
+builder in stone and wood. This was the prelude to those majestic
+ensembles of which Le Notre was to be the composer.
+
+Of the celebrated French palace and chateau gardens which are not
+centered upon the actual edifices with which they are more or less
+intimately connected, but are distinct and apart from the gardens which
+in most cases actually surround a dwelling, may be mentioned those of
+Montargis, Saint Germain, Amboise, Villers-Cotterets and Fontainebleau.
+These are rather parks, like the "home-parks," so called, in England,
+which, while adjuncts to the dwellings, are complete in themselves and
+are possessed of a separate identity, or reason for being. Chiefly
+these, and indeed most French gardens of the same epoch, differ greatly
+from contemporary works in Italy in that the latter were often built and
+terraced up and down the hillsides, whereas the French garden was laid
+out, in the majority of instances, on the level, though each made use of
+interpolated architectural accessories such as balustrades, statuary,
+fountains, etc.
+
+Mollet was one of the most famous gardeners of the time of Louis XIV. He
+was the gardener of the Duc d'Aumale, who built the gardens of the
+Chateau d'Anet while it was occupied by Diane de Poitiers, and for their
+time they were considered the most celebrated in France for their upkeep
+and the profusion and variety of their flowers. This was the highest
+development of the French garden up to this time.
+
+It is possible that this Claude Mollet was the creator of the
+_parterres_ and _broderies_ so largely used in his time, and after.
+Mollet's formula was derived chiefly from flower and plant forms,
+resembling in design oriental embroideries. He made equal use of the
+labyrinth and the sunken garden. His idea was to develop the simple
+_parquet_ into the elaborate _parterre_. He began his career under Henri
+III and ultimately became the gardener of Henri IV. His elaborate work
+"Theatre des Plans et Jardinage" was written towards 1610-1612, but was
+only published a half a century later. It was only in the sixteenth
+century that gardens in Paris were planned and developed on a scale
+which was the equal of many which had previously been designed in the
+provinces.
+
+[Illustration: PLAN of SUNKEN GARDEN (_JARDIN CREUX_)]
+
+The chief names in French gardening--before the days of Le Notre--were
+those of the two Mollets, the brothers Boyceau, de la Barauderie and
+Jacques de Menours, and all successively held the post of Superintendent
+of the Garden of the King.
+
+In these royal gardens there was always a distinctly notable feature,
+the _grand roiales_, the principal avenues, or alleys, which were here
+found on a more ambitious scale than in any of the private gardens of
+the nobility. The central avenue was always of the most generous
+proportions, the nomenclature coming from royal--the _grand roial_ being
+the equivalent of _Allée Royale_, that is, Avenue Royal.
+
+By the end of the sixteenth century the Garden of the Tuileries, which
+was later to be entirely transformed by Le Notre, offered an interesting
+aspect of the _parquet_ at its best. In "_Paris à Travers les Ages_" one
+reads that from the windows of the palace the garden resembled a great
+checker-board containing more than a hundred uniform _carreaux_. There
+were six wide longitudinal alleys or avenues cut across by eight or ten
+smaller alleys which produced this rectangular effect. Within some of
+the squares were single, or grouped trees; in others the conventional
+_quincunx_; others were mere expanses of lawn, and still others had
+flowers arranged in symmetrical patterns. In one of these squares was a
+design which showed the escutcheons of the arms of France and those of
+the Médici. These gardens of the Tuileries were first modified by a
+project of Bernard Palissy, the porcelainiste. He let his fancy have
+full sway and the criss-cross alleys and avenues were set out at their
+junctures with moulded ornaments, enamelled miniatures, turtles in
+faience and frogs in porcelain. It was this, perhaps, which gave the
+impetus to the French for their fondness to-day for similar effects, but
+Bernard Palissy doubtless never went so far as plaster cats on a
+ridgepole, as one may see to-day on many a pretty villa in northern
+France. This certainly lent an element of picturesqueness to the
+Renaissance Garden of the Louvre, a development of the same spirit which
+inspired this artist in his collaboration at Chenonceaux. This was the
+formula which produced the _jardin délectable_, an exaggeration of the
+taste of the epoch, but still critical of its time.
+
+The gardens of the Renaissance readily divided themselves into two
+classes, those of the _parterres à compartiments_ and those of the
+_parterres de broderies_. The former, under Francis I and Henri II, were
+divided into geometrical compartments thoroughly in the taste of the
+Renaissance, but bordered frequently with representations of designs
+taken from Venetian lace and various other contemporary stuffs. There
+were other _parterres_, where the compartments were planned on a more
+utilitarian scale; in other words, they were the _potagers_ which
+rendered the garden, said Olivier de Serres, one of "profitable
+beauty." Some of the compartments were devoted entirely to herbs and
+medicinal plants while others were entirely given over to flowers. In
+general the compartments were renewed twice a year, in May and August.
+
+[Illustration: _A Parterre_]
+
+The _Grand Parterre_ at Fontainebleau, called in other days the
+_Parterre de Tiber_, offered as remarkable an example of the terrace
+garden as was to be found in France, the terraces rising a metre or more
+above the actual garden plot and enclosing a sort of horticultural
+arena.
+
+It was in the sixteenth century that architectural motives came to be
+incorporated into the gardens in the form of square, round or octagonal
+pavilions, and here and there were added considerable areas of tiled
+pavements, features which were found at their best in the gardens of the
+Chateau de Gaillon and at Langeais.
+
+One special and distinct feature of the French Renaissance garden was
+the labyrinth, of which three forms were known. The first was composed
+of merely low borders, the second of hedges shoulder high, or even
+taller, and the third was practically a roofed-over grove. The latter
+invention was due, it is said, to the discreet Louis XIV. In the
+Tuileries garden, in the time of Catherine de Médici, there was a
+labyrinth greatly in vogue with the Parisian nobles who "found much
+pleasure in amusing themselves therein."
+
+In that garden the labyrinth was sometimes called the "Road of
+Jerusalem" and it was presumably of eastern origin.
+
+In the seventeenth century grottos came to be added to the garden,
+though this is seemingly an Italian tradition of much earlier date.
+Among the notable grottos of this time were that of the _Jardin des
+Pins_ at Fontainebleau, and that of the Chateau de Meudon, built by
+Philibert Delorme, of which Ronsard celebrated its beauties in verse.
+The art was not confined to the gardens of royalties and the nobility,
+for the _bourgeoisie_ speedily took up with the puerile idea (said to
+have come from Holland, by the way), and built themselves grottos of
+shells, plaster and boulders. It was then that the _chiens de faience_,
+which the smug Paris suburbanite of to-day so loves, were born.
+
+By the seventeenth century the equalized _carreaux_ of the early
+geometrically disposed gardens were often replaced with the oblongs,
+circles and, somewhat timidly introduced, more bizarre forms, the idea
+being to give variety to the ensemble. There was less fear for the
+artistic effect of great open spaces than had formerly existed, and the
+avenues and alleys were considerably enlarged, and such architectural
+and sculptural accessories as fountains, balustrades and perrons were
+designed on a more extensive scale. Basins and canals and other
+restrained surfaces of water began to appear on a larger scale, and
+greater insistence was put upon their proportions with regard to the
+decorative part which they were to play in the ensemble.
+
+This was the preparatory period of the coming into being of the works of
+Le Notre and Mansart.
+
+The _Grand Siècle_ lent a profound majesty to royal and noble dwellings,
+and its effect is no less to be remarked upon than the character of
+their gardens. The moving spirit which ordained all these things was the
+will of the _Roi Soleil_.
+
+_Parterres_ and _broderies_ were designed on even a grander scale than
+before. They were frequently grouped into four equal parts with a
+circular basin in the centre, and mirror-like basins of water sprang up
+on all sides.
+
+Close to the royal dwelling was the fore-court, as often dressed out
+with flowers and lawn as with tiles and flags. From it radiated long
+alleys and avenues, stretching out almost to infinity. At this time the
+grass-plots were developed to high order, and there were groves,
+rest-houses, bowers, and _theatres de verdure_ at each turning.
+Tennis-courts came to be a regularly installed accessory, and the basins
+and "mirrors" of water were frequently supplemented by cascades, and
+some of the canals were so large that barges of state floated thereon.
+Over some of the canals bridges were built as fantastic in design as
+those of the Japanese, and again others as monumental as the Pont Neuf.
+
+In their majestic regularity the French gardens of the seventeenth
+century possessed an admirable solemnity, albeit their amplitude and
+majesty give rise to justifiable criticism. It is this criticism that
+qualifies the values of such gardens as those of Versailles and Vaux,
+but one must admit that the scale on which they were planned has much to
+do with this, and certainly if they had been attached to less majestic
+edifices the comment would have been even more justifiable. As it is,
+the criticism must be qualified.
+
+The aspect of the garden by this time had been greatly modified. Aside
+from such great ensembles as those of Versailles was now to be
+considered a taste for something smaller, but often overcrowded with
+accessories of the same nature, which compared so well with the vastness
+of Versailles, but which, on the other hand, looked so out of place in
+miniature.
+
+It was not long now before the "style pompadour" began to make itself
+shown with regard to garden design--the exaggeration of an undeniable
+grace by an affected mannerism. All the rococco details which had been
+applied to architecture now began to find their duplication in the
+garden rockeries--weird fantasies built of plaster and even shells of
+the sea.
+
+By later years of the eighteenth century there came on the scene as a
+designer of gardens one, De Neufforge. His work was a prelude to the
+classicism of the style of Louis XVI which was to come. There was, too,
+at this time a disposition towards the English garden, but only a slight
+tendency, though towards 1780 the conventional French garden had been
+practically abandoned. The revolution in the art of garden-making
+therefore preceded that of the world of politics by some years.
+
+There are three or four works which give specific details on these
+questions. They are "_De la Distribution des Maisons de Plaisance_," by
+Blondel (1773), his "_Cours d'Architecture_" of the same date, and
+Panseron's volume entitled "_Recueil de Jardinage_," published in 1783.
+
+The following brief résumé shows the various steps through which the
+French formal garden passed. In the moyen-age the garden was a thing
+quite apart from the dwelling, and was but a diminutive dooryard sort of
+a garden. The garden of the Renaissance amplified the regular lines
+which existed in the moyen-age, but was often quite as little in accord
+with the dwelling that it surrounded as its predecessor.
+
+The union of the garden and the dwelling and its dependencies was
+clearly marked under Louis XIV, while the gardens of Louis XV tended
+somewhat to modify the grand lines and the majestic presence of those of
+his elder. These gardens of Louis XV were more fantastic, and followed
+less the lines of traditional good taste. Shapes and forms were
+complicated and indeed inexplicably mixed into a mélange that one could
+hardly recognize for one thing or another, certainly not as examples of
+any well-meaning styles which have lasted until to-day. The straight
+line now disappeared in favour of the most dissolute and irrational
+curves imaginable, and the sober majesty of the gardens of Louis XIV
+became a tangle of warring elements, fine in parts and not
+uninteresting, effective, even, here and there, but as a whole an
+aggravation.
+
+Finally the reaction came for something more simple and more in harmony
+with rational taste.
+
+The best example remaining of the Louis XV garden is that which
+surrounds the _Pavillon de Musique_ of the Petit Trianon, an addition
+to the garden which Louis XIV had given to the Grand Trianon. By
+comparison with the big garden of Le Notre this latter conception is as
+a boudoir to a reception hall.
+
+The garden of Louis XVI was a composite, with interpolations from across
+the Rhine, from Holland and Belgium and from England even; features
+which got no great hold, however, but which, for a time, gave it an air
+less French than anything which had gone before.
+
+From the beginning of the nineteenth century the formal garden was
+practically abandoned in France. It was the period of the real decadence
+of the formal garden. This came not from one cause alone but from many.
+To the straight lines and gentle curves of former generations upon
+generations of French gardens were added sinuosities as varied and
+complicated as those of the Vale of Cashmere, and again, with tiny stars
+and crescents and what not, the ground resembled an ornamental ceiling
+more than it did a garden. The sentimentalism of the epoch did its part,
+and accentuated the desire to carry out personal tastes rather than
+build on traditionally accepted lines. The taste for the English garden
+grew apace in France, and many a noble plantation was remodelled on
+these lines, or rooted up altogether. Immediately neighbouring upon the
+dwelling the garden still bore some resemblance to its former outlines,
+but, as it drew farther away, it became a park, a wildwood or a
+preserve.
+
+Isabey Père, a miniaturist, under Napoleonic stimulus, designed a number
+of French gardens in the early years of the nineteenth century,
+following more or less the conventional lines of the best work of the
+seventeenth century, and succeeded admirably in a small way in
+resuscitating the fallen taste. Isabey's gardens may have lacked much
+that was remarkable in the best work of Le Notre, but they were
+considerably better than anything of a similar nature, so far as
+indicating a commendable desire to return to better ideals.
+
+Under the Second Empire a great impulse was given to garden design and
+making in Paris itself. It was then that the parks and squares came
+really to enter into the artistic conception of what a city beautiful
+should be.
+
+Leaving the gardens of the Tuileries and the Luxembourg out of the
+question, the Parc Monceau and that of the Buttes Chaumont of to-day,
+the descendants of these first Paris gardens show plainly how thoroughly
+good they were in design and execution.
+
+The majority of professional gardeners of renown in France made their
+first successes with the gardens of the city of Paris, reproducing the
+best of the sixteenth, seventeenth and eighteenth century work, which
+had endured without the competition of later years having dulled its
+beauty, though perhaps the _parterres_ of to-day are rather more warm in
+colouring, even cruder, than those of a former time.
+
+The _jardin fleuriste_ and the _parterre horticole_ of the nineteenth
+century appealed however quite as much in their general arrangement and
+the modification of their details and their rainbow colours, as any
+since the time of Louis XVI. According to the expert definition the
+_jardin fleuriste_ was a "garden reserved exclusively to the culture and
+ornamental disposition of plants giving forth rich leaves and beautiful
+flowers." The above quoted description is decidedly apt.
+
+The seventeenth century French garden formed a superb framing for the
+animated fêtes and reunions in which took part such a brilliant array of
+lords and ladies of the court as may have been invited to taste the
+delicacies of a fête amid such luxurious appointments.
+
+The fashionable and courtly life of the day, so far as its open-air
+aspect was concerned, centered around these gardens and parks of the
+great houses of royalty and the nobility. The costume of the folk of the
+time, with cloak and sword and robes of silk and velvet and gilded
+carriages and _chaises-à-porteurs_, had little in common with the
+out-of-door garden-party life of to-day, where the guests arrive in
+automobiles, be-rugged and be-goggled and somewhat the worse for a dusty
+journey. It is for this reason that Versailles and Vaux-le-Vicomte, in
+spite of the suggestion of sumptuousness which they still retain, are,
+from all points of view, more or less out of scale with the life of our
+times.
+
+The modern garden, whether laid out in regular lines, or on an
+ornamental scale, as a flower garden purely, or in a composite style, is
+usually but an adjunct to the modern chateau, villa or cottage. It is
+more intimate than the vast, more theatrically disposed area of old, and
+is more nearly an indication of the personal tastes of the owner because
+of its restrained proportions.
+
+[Illustration: _Bassin de la Couronne, Vaux-le-Vicomte_]
+
+
+
+
+CHAPTER III
+
+THE ROYAL HUNT IN FRANCE
+
+
+Just how great a part the royal hunt played in the open-air life of the
+French court all who know their French history and have any familiarity
+with the great forests of France well recognize.
+
+The echo of French country architecture as evinced in the "_maisons de
+plaisance_" and "_rendezvous de chasse_" scattered up and down the
+France of monarchial times lives until to-day, scarcely fainter than
+when the note was originally sounded. Often these establishments were
+something more than a mere hunting-lodge, or shooting-box, indeed they
+generally aspired to the proportions of what may readily be accepted as
+a country-house. They established a specious type of architecture which
+in many cases grew, in later years, into a chateau or palace of
+manifestly magnificent appointments.
+
+At the great hunting exposition recently held at Vienna the _clou_ of
+the display was a French royal hunting-lodge in the style of Louis XVI,
+hung with veritable Gobelin tapestries, loaned by the French government
+and picturing "The Hunt in France." It was called by the critics a
+unique painting in a beautiful frame.
+
+In the days of Francis I and his sons, the royal hunt was given a great
+impetus by Catherine de Médici, wife of Henri II.
+
+Francis, in company with his sons, had gone to Marseilles to meet the
+Médici bride, who was on her way to make her home at the Paris Louvre,
+and when he found her possessed of so lively manners and such great
+intelligence he became so charmed with her that, it is said, he danced
+with her all of the first evening. What pleased the monarch even more,
+and perhaps not less his sons, was that she shot with an arquebuse like
+a sharpshooter, and could ride to hounds like a natural-born Amazon. She
+was more than a rival, as it afterwards proved, of that arch-huntress,
+Diane de Poitiers.
+
+History recounts in detail that last royal hunt of Francis I at
+Rambouillet, when he was lying near to death, the guest of his old
+friend, d'Angennes.
+
+The old manor, half hunting-lodge, half fortress, and very nearly royal
+in all its appointments, proved a comfortable enough rest-house, and on
+the day after his arrival, in March, 1547, the monarch commanded the
+preparations for a royal hunt to commence at daybreak in the
+neighbouring forest.
+
+The equipage started forth in full ceremonial on the quest of stag and
+boar. The bugles blew and a sort of stimulated courage once more entered
+the king's breast, courage born of the excitement around him, the baying
+of the hounds and the tramping and neighing of impatient horses. He had
+forced himself from his bed and on horseback and started off with the
+rest, defying the better counsel of his retainers.
+
+His strength proved to be born of a fictitious enthusiasm, and, speedily
+losing interest, he was brought back to the manor where he had his
+apartments, and put speechless and half dead to bed, actually dying the
+next day from this last over-exertion, scarce half a century of the span
+of his life accomplished.
+
+Henri de Navarre also was a true lover of the open. Born in a mountain
+town in the Pyrenees he would rather camp on a bed of pine needles in
+the forest than lie on a tuft of down. He preferred his beloved Bayonne
+ham, spiced with garlic, to a sumptuous dinner in _Jarnet_ house, a
+famous Paris tavern of the day; and had rather quench his thirst with a
+quaff of the wine of Jurançon than the finest _cru_ in Paris cellars.
+
+He hated the parade of courts, was dirty, unkempt and careless, a
+genuine son of the soil, heedless of fate, and an excellent huntsman.
+
+Up to the seventeenth century the ladies of the French court showed a
+keener interest for falconry than for the hunt by horse and hounds.
+
+The heroines of the Fronde, and the generation which followed, seemed to
+lose interest in this form of sport, and gave their favour to packs of
+hounds, and followed with equal interest the hunt for deer, wolves,
+boars, foxes and hares as they were tracked through forests and over
+arid wastes.
+
+The old hunting horn, the winding horn of romance, still exists at the
+hunts of France, a relic of the days of Louis XIV. It sounds the
+conventional comings and goings of the huntsmen in the same classic
+phraseology as of old--the _lancer_, the _bien allée_, the _vue_, the
+_changement de forêt_, the _accompagné_, the _bat l'eau_, the _hallali
+par terre_, and the _curée_.
+
+The "_Curée aux Flambeaux_" was one of the most picturesque ceremonies
+connected with the royal hunt in France. It began in the gallant days,
+and lived even until the time of the Second Empire.
+
+[Illustration: _A "Curée aux Flambeaux"_]
+
+The _curée_, that is the giving up to the hounds the remains of an
+animal slain in chase, does not always take place at night, but when
+it does the torches play the part of impressive and picturesque
+accessories. When a _curée_ takes place at the spot where the animal is
+actually killed the French sporting term for the ceremony is "_forcé et
+abattu_." This, however, is usually preceded by another called "_le
+pied_," which consists in cutting off one of the feet of the dead animal
+and offering it to the person in whose honor the hunt was held.
+
+When the _curée_ takes place by torchlight the body of the animal is
+carried beneath the windows of the chateau, a circle is formed by the
+"_piqueurs_," or head hunters, and all who have participated in the
+pursuit; and, to the sound of a trumpet, loaned by the sportsmen, one of
+the _valets de venérie_ cuts up the stag. The _meutes_, that is to say,
+the hounds which are let slip last of all, and which terminates the
+chase--are then brought by the _valet des chiens_, who has great
+difficulty in keeping them from breaking loose. When the entrails have
+been cut away the valet sits astride the animal, holding up the _nappe_,
+or head and neck, shaking it at the already furious hounds. It is the
+care of the valet during this interval to conceal the pieces of flesh
+which are still under the body. The hounds are then loosened, but are
+kept within bounds by the whips of the _piqueurs_ and the _valet des
+chiens_. When the dogs are sufficiently exasperated the brutes are
+allowed to rush upon the remains of their victim; only, however, to be
+driven back again by whipping. When their docility has thus been proven
+the definite signal, "_lachez tout_," is given, and the hounds rush
+towards the stag.
+
+The _curée_ then presents a savage spectacle: the air is filled with
+growling, barking and yelling, while the ground is covered with
+scrambling dogs, their mouths reeking with blood.
+
+The feminine costume for the hunt in the time of Louis XIII was of
+broadcloth or velvet, with a great feather-ornamented "picture" hat.
+Only now and again a lady on horseback after 1650 dared borrow doublet
+and jacket, and mount astride.
+
+The ladies followed the hunt of Louis XIV on horseback, seldom, if ever,
+in the older manner of sitting behind their cavalier on the same steed.
+From the time of Catherine de Médici, indeed, the Italian side-saddle
+had become the fashion for women.
+
+Under Louis XV the ladies sought a little more comfort, and followed the
+equipage sitting in a sort of hamper-like, diminutive basket, hung from
+the broad back of a sturdy quadruped. Dresses became more fanciful,
+both in materials and colours. From this it was but a step to even more
+elaborate toilettes which necessitated a conveyance of some sort on
+wheels, but the most intrepid still clung to the traditionally classic
+methods. Marie Antoinette had her _equipage de chasse_, and Madame
+Durfort was constantly abroad in the forests of Montmorency and Boissy,
+directing the operation of eight or ten professional huntsmen. Among her
+guests were frequently the ambassadors of Prussia, Russia and Austria.
+
+In the time of Louis XIV the Comtesse de Lude devoted herself to the
+hunt with a frenzy born of an inordinate enthusiasm. At the head of a
+pack of hounds she knew no obstacle, and, on one occasion, penetrated on
+horseback, followed by her dogs, into the oratory of the nuns of the
+Convent of Estival.
+
+By the end of the seventeenth century the hunt in France had become no
+more a sport for ladies. Hunting was still a noble sport, but it was
+more for men than for women. The court hunted not only in royal company,
+but accepted invitations from any seigneur who possessed an ample
+preserve and who could put up a good kill; magistrates, financiers and
+bishops, indeed all classes, became followers of the hunt.
+
+Montgaillard tells of a hunt in which he took part on the feast day of
+Saint Bernard, with the monks of the Bernardin Convent in Languedoc. In
+the episcopal domain of Saverne six hundred beaters were employed on one
+occasion to provide sport for an assembled company of lords and ladies.
+These were the days when the bishops were in truth _Grand Seigneurs_.
+
+The women of the court, while they played the game, ceded nothing to the
+men in bravery. Neither rain, hail nor snow frightened them. On the 28th
+of June, 1713, Louis XIV was hunting the deer at Rambouillet when a
+terrific, cyclonic storm fell upon the equipage, but not a man nor woman
+in the monarch's party quit. The Duchesse de Berry was "wet to the
+skin," but her ardour for the hunt was not in the least cooled.
+
+To-day at Fontainebleau or Rambouillet the echo is sounded from the
+hunting horn of Labaudy, the sugar-king, who pulls off at least two
+"hunts," with his spectacular equipage, each year, and it is a sight
+too; a French hunting party was ever picturesque, and if to-day not as
+practical as the more blood-loving Englishman's hunt, is at least
+traditionally sentimental, even artificial to the extent, at any rate,
+that it seems stagy, even to the inclusion of the automobiles which
+bring and carry away the participants. "Other days, other ways" never
+had a more strict application than to _la chasse a courre_ in France.
+
+Two accounts are here given of two comparatively modern figures in the
+French hunting field, which show the great store set by the sport in
+France.
+
+In the annals of the Chateau de Grosbois, belonging to-day to the Prince
+de Wagram, are the accounts of an early nineteenth century hunt, which
+shows that the game cost dear. The "Grand Veneur" of the Napoleonic
+reign was a master sportsman, indeed, and to-day, in a gallery of the
+chateau, are preserved the guns of the master, his hunting crop and
+saddle, his "colours" and his hunting horn.
+
+From the registers of the chateau, under date of December 10, 1809, the
+following, which concerned a hunting party given by the chatelain, is
+extracted verbatim.
+
+   Note of the Maitre d'Hotel for collations for the guests   8,226 francs
+
+   Illuminations                                              1,080 francs
+
+   Gratifications to the beaters                              1,000 francs
+
+   Eau de Cologne for the ladies                                 30 francs
+
+   Gun-bearers                                                  148 francs
+
+   Helpers (150)                                                600 francs
+
+   Aids (200)                                                    315 francs
+
+Another hunt was given in 1811, in honour of Napoleon, when such items
+as three thousand francs for an orchestra, a like sum for bouquets for
+the ladies, a thousand or two for bonbons and fans, and twelve thousand
+for hired furniture, etc., to say nothing of the expenses of the hunt
+itself, made the bag somewhat costly. It was not always easy for the
+master of the hunt to get justice when it came to paying for his
+supplies, and in these same records a mention of a dozen leather
+breeches at a hundred and forty francs each was crossed off and a
+marginal note, _Non_, added in the hand of Maréchal Berthier, Prince de
+Wagram, himself.
+
+The chief figure in the French hunting world of to-day is another
+descendant of the Napoleonic portrait gallery, Prince Murat. At the age
+of twelve the young Prince Joachim had already followed the hounds at
+Fontainebleau and Compiègne. In his double quality of relative and
+companion of the Prince Imperial he was one of the chiefs of the
+equipment of the Imperial Hunt. To-day, though well past the span of
+life, he is as active and as enduring in his participation in the
+strenuous sport as many a younger man and his knowledge of the grand art
+of _vénerie_, and his ardour for being always ahead with the hounds, is
+noted by all who may happen to see him while jaunting through the
+Fôret de Compiègne, keeping well up with the traditions of his worthy
+elder, the "Premier Cavalier" of the First Empire, the King of Naples.
+
+[Illustration: _An Imperial Hunt at Fontainebleau_]
+
+He won his first stripes in the hunting field at Compiègne in 1868, at a
+hunt given in honour of the Prince de Hohenzollern and the Princesse,
+who was the sister of the King of Portugal. It was a most moving event,
+so much so that it just escaped being turned into a drama, for one of
+the ladies of the court had a leg broken, and the minister, Fould, was
+almost mortally injured. A "_dix cors_," a stag with antlers of ten
+branches, had been run down at the Rond Royal where it had taken refuge
+in a near-by copse, and after an hour's hard chase was finally cornered
+in the courtyard of some farm buildings of the Hameau d'Orillets. A
+troop of cows was entering the courtyard at the same moment, and a most
+confused melée ensued. The Inspector of Forests saved the situation and
+the cows of the farmer, and the stag fell to the carabine of Prince de
+la Moskowa, with the young Prince Murat on his pony in the very front
+rank.
+
+Thus early initiated in the chivalrous sport of the hunt the young man
+followed every hunt, big or little, which was held in the environs of
+Paris for many years, and by the time that he came to possess the
+epaulettes of an Officier de Cuirassiers he was known to all the hunts
+from the Ardennes to Anjou.
+
+For the past generation he has been retired to civil life by a
+Republican decree, and since that time has lived in his suburban Paris
+property, devoting himself to the raising of hunters. Here he lives
+almost on the borders of that great extent of forest which occupies the
+northern section of the Ile de France, occasionally organizing a hunt,
+which takes on not a little of the noble aspect of a former time, the
+prince following always within sound of the hunting horn and the baying
+of the hounds, if not actually always within sight of the quarry.
+
+It is here, in his Villa Normande, near which Saint Ouen gave Dagobert
+that famous counsel which has gone down in history, that the Prince and
+Princesse Murat come to pass two or three months each year with their
+children, their allied parents and the "great guns" of the old régime
+who still gather about the master of the hunt as courtiers gather around
+their king.
+
+At Chamblay there have been held magnificent gun shoots under the
+organization of the prince and his equipage. His kennels contain
+forty-eight of the finest bred hounds in France, and are guarded by
+three caretakers, the goader, Carl, whose fame has reached every
+hunting court of Europe and a couple of _valets des chiens_. The
+prince's colours are distributed as follows: a huzzar jacket of blue,
+with collar, plaquettes, and vest of grenadine and breeches of a darker
+blue.
+
+Formerly Prince Murat hunted the roe-deer in the valley of the Oise, but
+many enclosures of private property having made this exceedingly
+difficult in later years he is to-day obliged to go farther afield. In
+the spring the equipage goes to Rosny, near Mantes, and perhaps during
+the same season occasionally to Rambouillet.
+
+The hunts at Chamblay are the perfection of the practice of the art.
+Seldom is the quarry wanting. The refrain of the Ode to Saint Hubert
+lauds the prowess of this great "Maitre d'Equipage."
+
+   "Par Saint Hubert mon patron
+   C'est quelque due de haut renom
+        *       *       *
+   Sonnez: écuyers et piqueux
+   Un Murat vien en ces lieux."
+
+Chamblay fortunately being neither populous nor near a great town there
+is no throng of curious spectators hovering about to get in the way and
+scare the game and the hounds and their followers out of their wits. The
+Chasse de Chamblay is the devotion of the _vrais veneurs_; the Prince
+Murat and his son, the Prince Joachim, (to-day at the military school at
+Saint Cyr), the Prince Eugene Murat, the Comte de Vallon, the Baron de
+Neuflize and a few famous _veneurs_ in gay uniforms come from afar to
+give éclat to the hunt of the master. And the ladies: the following
+names are of those devoted to the prowess of the Prince Murat--Madame la
+Princesse, la Princesse Marguerite Murat, Mademoiselle d'Elchingen, the
+Duchesse and the Marquise d'Albufera, the Duchesse de Camestra, and
+Madame Kraft.
+
+From this one sees that romance is not all smouldering. If other proof
+were wanting a perusal of that most complete and interesting account of
+the hunt in France in modern times, "_Les Chasses de Rambouillet_"
+(_Ouvrage offert par Monsieur Felix Faure_) would soon establish it.
+This was not a work destined for the public at large. The hunt was ever
+a sport of kings in France, and though France has become Republican its
+_Chasse Nationale_ at Rambouillet partakes not a little of the aspect of
+those courtly days when there was less up-to-dateness and more
+sentiment.
+
+[Illustration: _Rendezvous de Chasse, Rambouillet_]
+
+There were but one hundred copies of this work printed for the friends
+of the late president of the Republic--"Other Sovereigns," as the
+dedication reads, "Princes, Grand Dukes, Ambassadors."
+
+Rambouillet was the theatre of the most splendid hunts of the sixteenth
+century, and down through the ages it has ever held a preëminent place;
+holds it to-day even. Louis XVI in the Revolutionary torment even
+regretted the cutting off of his prerogative of the royal hunt, but he
+had no choice in the matter. In his journal of 1789 one reads: "the cerf
+runs alone in the Parc en Bas" (Rambouillet), and again in 1790: "Séance
+of the National Assembly at noon; Audience of a deputation in the
+afternoon. The deer plentiful at Gambayseuil."
+
+The Revolution felled many French institutions; low, great,
+ecclesiastical and monarchial monuments, the trees of the forest, and
+the royal game, by a system of poaching, had become greatly diminished
+in quantity.
+
+The nineteenth century, so frankly democratic in its latter years, was
+less favourable to the hunt than the monarchial days which had gone
+before. It had a considerable prominence under Charles X, more perhaps
+than it ever had under Napoleon, who in his infancy and laborious
+adolescence had few opportunities of following it; and in the later
+years of his life he was too busy.
+
+Napoleon III was not really a "good hunter," though he was something of
+a marksman and took a considerable pride in his skill in that
+accomplishment.
+
+Entering the democratic era, Jules Grévy seems to have been only a
+pot-hunter of the _bourgeoisie_, who practiced the art only because he
+wanted a jugged hare for his dinner, or again simply to kill time.
+
+Sadi-Carnot was still less a hunter of the romantic school, but assisted
+frequently at the ceremonial shootings which were arranged for visiting
+monarchs. On one occasion he was put down on the record-sheet of a hunt
+at Rambouillet as responsible only for the death of eighteen heads,
+whilst a visiting Grand Duke pulled down a hundred and fifty.
+
+It was notably during the presidency of Felix Faure that Rambouillet
+again took on its animation of former times. The chateau had been
+furbished up once more after a long sleep, and, to the great
+satisfaction of the inhabitants of the town, there were more comings and
+goings than there had been for a quarter of a century.
+
+In the summer and autumn the president made Rambouillet his preferred
+residence, and there received many visiting sovereigns and notables of
+all ranks. In one year a score of "Official Hunts" were held, to which
+all the members of the diplomatic corps were invited, while there were
+two or three affairs of an "International" character in honour of
+visiting sovereigns.
+
+All was under the control of the Grand Veneur of the Third Republic, the
+Comte de Girardin, and while a truly royal flavour may have been lacking
+the general aspect was much the same as it might have been in the days
+of the monarchy. The Captain of the Hunt under Felix Faure was the
+Inspector of Forests, Leddet, and the Premier Veneur was the Commandant
+Lagarenne.
+
+The president himself was a marksman of the first rank, and never was
+there a reckoning up of the _tableau_ but that he was near the head of
+the list. So accomplished was he with the rifle that on more than one
+occasion he was obliged to practically efface himself in favour of some
+visiting monarch, as it was said he did in the case of the King of
+Portugal in 1895, the Grand Ducs Vladimir and Nicolas in 1896.
+
+Huntsmen not royal by virtue of title, or alliance, the Republican
+president beat to a stand-still. He had no pity nor favour for a mere
+ambassador, whether he hailed from England or Germany, nor for members
+of the Institute, Senators nor Deputies. With Prince Albert of Monaco
+he held himself equal, and for every bird shot on the wing by the head
+of the house of Grimaldi the "longshoreman" of Havre brought down
+another.
+
+_La chasse à courre_ before the law in France to-day may be practiced
+only under strictly laid down conditions. The huntsman must legally have
+his dogs under such control, and keep sufficiently close to them, as to
+be able to recover the quarry immediately after it has been closed in
+upon by the hounds.
+
+Like shooting, since the Decrée of 1844, hunting with hounds may only be
+undertaken under authority of a _permis de chasse_, and in open season,
+during the daytime, and with the consent of the owners over whose
+properties the hunt is to be held.
+
+The ceremony of the hunt in France now follows the traditions of the
+classic hunt of the monarchy. The _veneur_ decides on the rendezvous,
+whether the quarry be stag or chevreuil, fox or hare. The _piqueur_
+follows close up with the dogs, sets them on or calls them off, and
+recalls them if they go off on a false scent.
+
+
+
+
+CHAPTER IV
+
+THE PALAIS DE LA CITÉ AND TOURNELLES
+
+
+Not every one assumes the Paris Palais de Justice to ever have been the
+home of kings and queens. It has not, however, always been a tilting
+ground for lawyers and criminals, though, no doubt, when one comes to
+think of it, it is in that rôle that it has acted its most thrilling
+episodes.
+
+The Saint Chapelle, the Conciergerie and the great clock of the Tour de
+l'Horloge mark the Palais de Justice down in the books of most folk as
+one of the chief Paris "sights," but it was as a royal residence that it
+first came into prominence.
+
+This palace, not the conglomerate half-secular, half-religious pile of
+to-day, but an edifice of some considerable importance, existed from the
+earliest days of the Frankish invasion, and when occupied by Clotilde,
+the wife of Clovis, was known as the Palais de la Cité.
+
+Under the last of the kings of the First Race this palace took on really
+splendid proportions. When Hugues Capet arrived on the throne he
+abandoned the kingly residence formerly occupied by the Frankish rulers,
+the Palais des Thermes, and installed his goods and chattels in this
+Palais de la Cité, which his son Robert had rebuilt under the direction
+of Enguerrand de Marigny.
+
+Up to the time of Francis I it remained the preferred residence of the
+French monarchs, regardless of the grander, more luxuriously disposed
+Louvre, which had come into being.
+
+Philippe Auguste, by a contrary caprice, would transact no kingly
+business elsewhere, and it was within the walls of this palace that he
+married Denmark's daughter. His successors, Saint Louis,
+Philippe-le-Hardi, and Philippe-le-Bel did their part in enlarging and
+beautifying the structure, and Saint Louis laid the foundations of that
+peerless Gothic gem--La Saint Chapelle.
+
+From the windows of the Palais de la Cité another Charles assisted at an
+official massacre, differing little from that of Saint Bartholemew's,
+which was conducted from the Louvre.
+
+On the first floor of the Palais de Justice of to-day is the apartment
+paved in a mosaic of black and white marble, with a painted and gilded
+wooden vaulting, where Charles V received the Emperor Charles IV and the
+"Roi des Romains." The three monarchs, accompanied by their families,
+here supped together around a great round marble table, a secret supper
+prolific of an _entente cordiale_ which must have been the forerunner of
+recent ceremonies of a similar nature in France.
+
+Known as the Salle de Marbre, this great chamber came later to be the
+Tribunal where the courts sat. It was only after the death of Charles
+VI, at the beginning of the fifteenth century, that the Palais de la
+Cité was given over wholly to the disciples of Saint Yves, the judges,
+advocates and notaries. It became also the definite seat of the
+Parliament and took the nomenclature of Palais de Justice, though still
+inhabited at intermittent intervals by French royalties. One such
+notable occasion was that when Henry V of England was here married to
+Catherine de France, and when Henry VI of England took up his temporary
+residence here as king to the French.
+
+In the fourteenth century the precincts of the Palais de la Cité--the
+open courtyard one assumes is meant--were invaded by the stalls of small
+shopkeepers, some of which actually took root in wood and stone and
+became fixtures to such an extent that the courtyard was known as the
+Galerie des Merciers.
+
+The great marble chamber after becoming the meeting place of the
+Tribunal played a part at times dignified and at others banal. An
+incident is recorded where the clerks and minor court officials danced
+on the famous marble table and "played farces" with the judicial bench
+serving as a stage. It was said that, on account of the immoralities
+which they represented, the authorities were obliged to suppress the
+performances by law, as they have in recent years the flagrant freedom
+of the "Quat'z Arts."
+
+Up to the times of Francis I but few events of importance unrolled
+themselves within the Palais de la Cité, but in 1618 a violent
+conflagration broke out leaving only the round towers of the
+Conciergerie, the tower and the church, and that part of the main
+structure which housed the great Salle de Marbre, unharmed. Apropos of
+this, a joyous rhymester of the time made the following quatrain:
+
+   "Certes ce fut un triste jeu
+   Quand a Paris Dame Justice
+   Pour avoir mangé trop d'épice
+   Se mit le Palais tout en feu."
+
+Jacques Debrosse was charged with rebuilding the edifice after the fire
+and refitted first the Grand Salle, to-day the famous Salle des Pas
+Perdus, crowded with the shuffling coming and going crowd of men and
+women whose business, or no business at all, brings them to this central
+point for the dissemination of legal gossip. It is a magnificent
+apartment, and, to no great extent, differs from what it was before the
+conflagration.
+
+This Salle consists of two parallel naves separated by a range of
+arcades and lighted by two great circular openings with four
+round-headed windows at either end. Its attributes are practically the
+same as they were in 1622. The structure, take it as a whole, may be
+said to date only from the seventeenth century, but certain it is that
+the old Palais de la Cité is incorporated therein, every stone of it,
+and if its career was humdrum that was the fault of circumstances rather
+than from any inherent faults of its own.
+
+The Conciergerie, that inelegant, inconsistent architectural mixture of
+the ancient and modern, considered apart, though it properly enough is
+usually considered with the Palais de Justice, was formerly the dwelling
+or guardhouse of the Concierge of the Palais de la Cité. His post was
+not merely that of the keeper of the gates; he was a personage at court
+and was as autocratic as his more plebeian contemporaries of to-day, for
+the Paris concierge, as we, who have for years lived under their
+despotism well know, is a very dreadful person.
+
+In addition to being the governor of the royal dwelling this concierge
+was the guardian of the royal prisoners. In 1348 he was further invested
+with the official title of Bailli and the post was, at times, occupied
+by the highest and the most noble in the land, among others Philippe de
+Savoie, the friend of Charles VI, and Juvenal des Oursins, the historian
+of this prince. The first to combine the two functions, that of Bailli
+and Concierge, was Jacques Coictier, the doctor of Louis XI.
+
+As a virtual prison the Conciergerie only came to be transformed when
+Charles V quitted the residence of the Palais de la Cité, and the
+Conciergerie, as such, only figures on the Tournelles registers under
+date of 1391.
+
+The fire of the latter part of the eighteenth century destroyed a large
+part of the building, but enough remained to patch together the most
+serviceable of Revolutionary prisons, for at one time it held at least
+twelve hundred poor souls, of whom two hundred and eighty-eight were
+killed off at one fell blow.
+
+But one woman among them all actually came to her death within the
+prison walls. This was La Belle Bouquetière of the Palais Royal who, in
+an access of jealous furor, horribly mutilated a royal guardsman, and
+for this met a most cruel death by being transfixed to a post and
+submitting to a trial of "_le fer et le feu_." In just what manner the
+punishment was applied one can best imagine for himself.
+
+The Revolutionary rôle of the Conciergerie is a thing apart from the
+purport of this book, hence is not further referred to.
+
+Going back to the time of Francis I, among the famous prisoners of state
+were Louis de Berquin, the Comte de Mongomere, the regicides Ravaillac
+and Damiens, the Maréchal d'Ancre, Cartouche, Mandrin and others.
+To-day, as a prison, the Conciergerie still performs its functions
+acceptably, safeguarding those up for the assizes, and those condemned
+to death before being sent on their long journey.
+
+The three great flanking towers of the Conciergerie are its chief
+architectural distinction to-day. That of the left, the largest, is the
+Tour d'Argent, that of the middle, the Tour Bonchet, and the third, the
+Tour de César or the Tour de l'Horloge. This last is the only one which
+has preserved its mediæval crenulated battlements aloft. The great clock
+has been commonly considered the largest timepiece of its kind extant,
+but it is doubtful if this now holds good with railways and insurance
+companies vying with each other to furnish the hour so legibly that he
+who runs may read.
+
+Across the Pont au Change, from the Palais de la Cité, by the Louvre and
+out into the Faubourg Saint Antoine, one comes to the Place des Vosges,
+the old Place Royale, which occupies almost the same area as was covered
+by the courtyard of the Palais des Tournelles, so called from its many
+towers.
+
+All around the Palais des Tournelles was located a series of splendid
+_hotels privés_ of the nobility. In one of these, the Hotel de Saint
+Pol, the king once lodged twenty-two visiting princes of the quality of
+Dauphin (the eldest son of a ruling monarch), their suites and
+domestics.
+
+Charles V in his time amalgamated with his royal palace three of these
+magnificent private dwellings, the Hotel du Petit Musc, the Hotel de
+l'Abbé de Saint Maur and the Hotel du Comte d'Étampes.
+
+The palace proper really faced on what is now the Rue Saint Antoine,
+opposite the Hotel Saint Pol. Its historic and romantic memories of the
+sword and cloak period of gallantry were many, but the edifice was
+demolished by the order of Catherine de Médici.
+
+In the palace Charles VI was confined, during the period of his
+insanity, by order of the cruel Isabeau de Bavière. The Duke of Bedford,
+when regent for the minor Henry VI, lodged here, and upon the expulsion
+of the English it became the residence of Charles VII. Louis XI and
+Louis XII each inhabited it, and the latter died within its walls.
+
+The Palais des Tournelles will go down to history chiefly because of
+that celebrated jousting bout held in its courtyard on the marriage day
+of the two princesses, Elizabeth and Marguerite.
+
+Henri II and the elder princes, his sons, were to ride forth in
+tournament and break lances, if possible, with all comers. The court,
+including Catherine de Médici and the princess Elizabeth, wife of
+Philippe II, the late husband of Mary Tudor, the two Marguerites and
+other high personages were seated on a dais upholstered in damascened
+silk and ornamented with many-coloured streamers.
+
+The time was July and the morning. At a signal from Catherine music
+burst forth and the bouts began.
+
+The king rode forth at the head of his chevaliers, wearing a suit of
+golden armour, his sword handle set with jewels, and, in spite of the
+presence of his wife, his lance flying black and white streamers, the
+colours of Diane de Poitiers, who had lately turned her affections from
+father unto son.
+
+A herald proclaimed the opening of the combat, and before night the king
+had broken the lances of the Ducs de Ferrare, de Guise, and de Nemours,
+and was just about disarming when a masked knight approached from the
+Faubourg Saint Antoine and challenged the king, who, in spite of being
+implored to desist by his queen, entered the lists again and was
+ultimately wounded unto death by the sable knight.
+
+Henri II expired the same night in a bedchamber of the Palais des
+Tournelles, whither he had been carried, at the age of forty-one, the
+victim of chance, or the wile of the Sieur de Montgomeri, the ancestor
+of England's present Earl of Eglinton. The captain of the Scotch Guards,
+Montgomeri, was not immediately pursued (he meantime had fled the
+court), but Catherine de Médici harboured for him a most bitter rancour.
+Pro and con ran his cause, for he had his partisans, but the Maréchal de
+Matignon finally caught up with him in Normandy and he was tortured and
+condemned to death for the crime of _lèse majesté_--beating the king at
+his own game.
+
+The widowed queen angrily ordered Diane de Poitiers from the court, and
+caused the Palais des Tournelles to be razed. This was her only means of
+showing her contempt for the woman who had played her royal spouse to
+his death as the Romans played the gladiators of old; and Tournelles, as
+a palatial monument of its time, blotted out the rest when it
+disappeared from view.
+
+A forest of spirelets soared aloft from the gables and rooftrees of the
+Palais des Tournelles. There was no spectacle of the time more imposing
+than this sky-line silhouette of a Paris palace; not at Chambord nor
+Chenonceaux was the spectacle more fine. It was like a fairy castle,
+albeit that it was in the heart of a great city.
+
+To the right of the Palais des Tournelles, beyond the Porte Saint
+Antoine, was the ink-black, frowning donjon of the Bastille, its
+severity in strong contrast with the more luxurious palaces of the
+princes which surrounded it not far away.
+
+The charming Place des Vosges, which occupies the site of Tournelles
+to-day, is another of Paris's breathing spaces. Well may it be called a
+royal garden--a park virtually on a diminutive scale--since it was
+originally known as the Place Royale, under Henri IV.
+
+With the advent of the gascon Henri de Béarn this delightful little
+unspoiled corner of old Paris took on the aspect which it now has.
+Within this enclosure were the usual garden or park attributes, more or
+less artificially disposed, but making an ideal open-air playground for
+the court, shut in from outside surroundings by the outlines of the old
+palace walls, and not too far away from the royal palace of the Louvre.
+
+The first and greatest historic souvenir of this garden was a Carrousel
+given in 1612, by Marie de Médici, two years after the tragic death of
+Henri IV, celebrating the alliance between France and Spain. Under
+Richelieu the square became known as the Place des Vosges, and, in spite
+of the law against duelling, which had by this time come into force, it
+became a celebrated meeting place for duellists like Ivry, the "Grand'
+Roué" or the "Vel' Hiver" of to-day.
+
+It was on May 12, 1627, that the Comte des Chappell killed Bussy
+d'Amboise on this spot, and left a bloody souvenir, which was only
+forgotten by the historians when they had to recount another meeting,
+this time between the Catholic Duc de Guise and the Protestant Coligny
+d'Andelot.
+
+"Monsieur," said the duke, "we will now proceed to settle that little
+account between our illustrious houses," and with that he drew his
+sword and killed Coligny, as if he were but stamping the life out of a
+caterpillar.
+
+Now, with all this bloody memory behind, the Place became one of the
+most elegant residential quarters of the capital, preferred above all by
+the nobility, the Rohans, the Alègres and Rotroux.
+
+At No. 21 lived Victor Hugo, just before the Coup d'État, in the house
+first made famous as the habitation of the somewhat infamous Marion
+Delorme.
+
+Among other illustrious names who have given a brilliance to these
+alleyed walks and corridors are to be recalled Corneille, Condé, Saint
+Vincent de Paul, Molière, Turenne, Madame de Longueville, De Thou,
+Cinq-Mars, Richelieu, D'Ormesson, the Prince de Talmon, the Marquis de
+Tessé and the Comte de Chabanne.
+
+It is possible that this charming Paris square will remain as ever it
+has been, for a recent attempt of the owner of one of the houses which
+borders upon it to change the disposition of the façade brought about a
+law-suit which compelled him to respect the procedure which obtained in
+1605 when it was ordained the Place Royale.
+
+To prove their rights the civic authorities had recourse to the original
+plans still preserved in the national archives. This is a demonstration
+of how carefully European nations preserve the written records of their
+pasts.
+
+The decision finally arrived at by the courts--that the Place des Vosges
+must be kept intact as originally planned--gave joy to the hearts of all
+true Parisians and archeologists alike.
+
+[Illustration: BIRD'S EYE VIEW OF OLD PARIS]
+
+
+
+
+CHAPTER V
+
+THE OLD LOUVRE AND ITS HISTORY
+
+
+A stroll by the banks of the Seine will review much of the history of
+the capital, as much of it as was bound up with Notre Dame, the Louvre
+and the Palais de la Cité (now the Palais de Justice), and that was a
+great deal, even in mediæval and Renaissance times.
+
+The life of the Louvre was Paris; the life of Paris that of the nation;
+and the life of the nation that of the people. This even the Parisians
+of to-day will tell you. It is scant acknowledgment of the provinces to
+be sure, but what would you? The French capital is much more the capital
+of France than London is of England, or Washington of America--leaving
+politics out of the question.
+
+Paris before the conquest by the Franks was practically only the
+Seine-surrounded isle known as Lutetia, and later as "La Cité," and the
+slight overflow which crept up the slopes of the Montagne de la Sainte
+Genevieve. From the Chatelet to the Louvre was a damp, murky swamp
+called, even in the moyen-age, Les Champeaux, meaning the Little Fields,
+but swampy ones, as inferred by studying the evolution of the name still
+further.
+
+A rapid rivulet descended from Menilmontant and mingled with the Seine
+somewhere near the Garden of the Tuileries.
+
+Clovis and his Franks attacked the city opposite the isle, and, upon the
+actual achievement of their conquest, threw up an entrenched camp on the
+approved Roman plan in what is now the courtyard of the old Louvre, and
+filled the moat with the waters of this rivulet. The ensemble was,
+according to certain authorities, baptized the Louvre, or Lower, meaning
+a fortified camp. This entrenchment was made necessary in order that the
+Franks might sustain themselves against the Gallo-Roman occupants of
+Lutetia, and in time enabled them to acquire the whole surrounding
+region for their own dominion. This the Lower, or Louvre, made possible,
+and it is well deserved that its name should be thus perpetuated, though
+actually the origin of the name is in debate, as will be seen by a
+further explanation which follows.
+
+Little by little this half-barbaric camp--in contradistinction to the
+more solid works of the Romans--became a _placefort_, then a château,
+then a palace and, finally, as the young lady tourist said, an art
+museum. Well, at any rate, it was a dignified evolution.
+
+Two Louvres disappeared before the crystallization of the present rather
+irregularly cut gem. From the Merovingians dates the Louvre des Champs,
+the hostile, militant Louvre, with its high wood and stone tower,
+familiar only in old engravings. After this the moyen-age Louvre,
+attributable to Saint Louis and Charles V, with its great tower, its
+thick walls of stone and its deep-dug moats, came into being. With
+Francis I came a more sympathetic, a more subtle era of architectural
+display, a softening of outlines and an interpolation of flowering
+gables. It was thus that was born that noble monument known as the New
+Louvre, which combined all the arts and graces of a fastidious ambition.
+
+Nothing remains of the old Louverie (to which the name had become
+corrupted) which Philippe Auguste early in the thirteenth century caused
+to be turned into an ambitious quadrangular castle from a somewhat more
+humble establishment which had evolved itself on the site of the
+Frankish camp, save the white marble outline sunken in the pavement of
+the courtyard of the palace of to-day. By destiny this palace, set down
+in the very heart of Paris, was to dominate everything round about.
+From the date of its birth, and since that time, it has had no rivals
+among Paris or suburban palaces. Its very situation compelled the
+playing of an auspicious part, and the Seine flowing swiftly by its
+ramparts added no small charm to the fêtes and ceremonies of both the
+Louvre and the Tuileries.
+
+Never was a great river so allied with the life of a royal capital;
+never a stream so in harmony with other civic beauties as is the Seine
+with Paris. When Henri II entered Paris after his Sacrament he
+contemplated a water-festival on the Seine, which was to extend from the
+walls of the Louvre to the towers of Notre Dame, a festival with such
+elaborate decorations as had never been known in the French capital.
+
+The kings of France after their Sacrament entered the Louvre by the
+quay-side entrance, followed by their cortège of gayly caparisoned
+cavaliers and gilded coaches with personages of all ranks in doublet and
+robe, cape and doublet. The scintillating of gold lace and burnished
+coats gave a brilliance which rivalled that of the sun.
+
+No sooner had the cavalcade entered the gates of the Louvre than it came
+out again to participate in the day and night festival, which had the
+bosom of the Seine for its stage and its bridges and banks for the act
+drop and the wings.
+
+The receptions of Ambassadors, the baptisms of royalties, royal
+marriages and celebrations of victories, or treaties, were all fêted in
+the same manner.
+
+Napoleon glorified the Peace of Amiens under similar conditions, and
+there is scarce a chronicler of any reign but that recounts the part
+played by the Seine in the ceremonies of the court of the New and Old
+Louvre.
+
+It was amid a setting which lent itself so readily to all this that the
+Old Louvre, which was rebuilt by Francis I, first came to its glory.
+
+The origin of the name Louvre has still other interpretation from that
+previously given. It seems to be a question of grave doubt among the
+savants, but because the note is an interesting one it is here
+reproduced. The name may have been derived as well from the word
+_oeuvre_, from the Latin _opus_; it may have been evolved from
+_lupara_, or _louverie_ (place of wolves), which seems improbable. It
+may have had its evolution from either one of these origins, or it may
+not.
+
+Anglo-Saxons may be proud of the fact that certain French savants have
+acknowledged that the name of the most celebrated of all Paris palaces
+is a derivation from a word belonging to their tongue and meaning
+habitation. This, then, is another version and one may choose that which
+is most to his liking, or may go back and show his preference for
+_lower_, meaning a fortified place.
+
+A palace--something more elaborate than a mere habitation--stood on the
+same site in the twelfth century, a work which, under the energies of
+Philippe Auguste, in 1204 began to grow to still more splendid
+proportions, though infinitesimal one may well conclude as compared with
+the mass which all Paris knows to-day under the inclusive appellation of
+"The Louvre."
+
+The Paris of Philippe Auguste was already a city of a hundred and twenty
+thousand inhabitants, with mean houses on every side and little pretense
+at even primitive comforts or conveniences. This far-seeing monarch laid
+hand first on the great citadel tower of the fortified _lower_, added to
+its flanking walls and built a circling rampart around the capital
+itself. It is recounted that the rumbling carts, sinking deep in mud and
+plowing through foot-deep dust beneath the palace windows, annoyed the
+monarch so much that he instituted what must have been the first city
+paving work on record, and commanded that all the chief thoroughfares
+passing near the Louvre should be paved with cobbles. This was real
+municipal improvement. He was a Solon among his kind for, since that
+day, it has been a _sine qua non_ that for the well-keeping of city
+streets they must be paved, and, though cobblestones have since gone out
+of fashion, it was this monarch who first showed us how to do it.
+
+The Louvre of Philippe Auguste was the most imposing edifice of the
+Paris of its time. To no little extent was this imposing outline due to
+its great central tower, the _maitresse_, which was surrounded by
+twenty-three _dames d'honneur_, without counting numberless _tourelles_.
+This hydra-towered giant palace was the real guardian of the Paris of
+mediævalism, as its successor is indeed the real centre of the Paris of
+to-day.
+
+The city was but an immense mass of low-lying gable-roofed houses, whose
+crowning apex was the sky-line of the Louvre, with that of Tournelles
+only less prominent to the north, and that of La Cité hard by on the
+island where the Palais de Justice and Notre Dame now stand.
+
+Before the hand of Francis fell upon the Louvre it was but an isolated
+stronghold--a combined castle, prison and palace, gloomy, foreboding and
+surrounded by moats and ramparts almost impassable. Philippe Auguste
+built well and made of it an admirable and imposing castle and a place
+of defence, and a defence it was, and not much more.
+
+For its time it was of great proportions and of an ideal situation from
+a strategic point of view; far more so than the isolated Palais de la
+Cité in the middle of the Seine.
+
+Four gates led out from the inner courtyard of the Old Louvre: one to
+the Seine; one to the south, facing Saint Germain l'Auxerrois; another
+towards the site of the later Tuileries; and the other to about where
+the Rue Marengo cuts the Rue de Rivoli of to-day.
+
+With the endorsement given it by Philippe Auguste the Louvre now became
+the official residence of the kings of the Capetian race, whereas
+previously they had dwelt but intermittently at Paris, chiefly in the
+Palais de la Cité.
+
+The monarch, as if to test the efficiency of his new residence as a
+stronghold, made a dungeon tower, his greatest constructive achievement
+until he built the castle of Gisors, and in the tower imprisoned the
+Comte de Flandre, whom he had taken prisoner at Bouvines. Louis IX
+(Saint Louis), in his turn, built a spacious annex to Philippe Auguste's
+Louvre, to which he attached his name.
+
+[Illustration: THE XIV CENTURY LOUVRE]
+
+
+Charles V totally changed the aspect of the palace from what it had
+formerly been--half-fortress, half-residence--and made of it a veritable
+palace in truth as well as in name, by the addition of numerous
+dependencies.
+
+Within a tower which was built during the reign of this monarch, called
+the Tour de la Librairie, he assembled his royal bibelots and founded
+what was afterwards known as the Bibliothèque du Louvre, the egg from
+which was hatched the present magnificently endowed _Bibliothèque
+Nationale_ in the Rue Richelieu.
+
+It is related that in 1373 the valet-de-chambre of Charles V made a
+catalogue of the nine hundred and ten volumes which formed this
+collection, an immense number for the time when it is known that his
+predecessor, Jean-le-Bon, possessed but seven volumes of history and
+four devotional books as his entire literary treasure.
+
+This seems to be a bibliographical note of interest which has hitherto
+been overlooked. Charles V was evidently a man of taste, or he would not
+have built so well, though all is hearsay, as not a fragment remains of
+the work upon which he spent his talents and energies.
+
+From the death of Charles V, in 1364, until 1557 the Louvre by some
+caprice ceased to be a permanent royal residence. At the latter epoch
+the ambitious, art-loving Francis I conceived the idea that here was a
+wealth of scaffolding upon which to graft some of his Renaissance
+luxuries and, by a process of "restoration" (perhaps an unfortunate word
+for him to have employed, since it meant the razing of the fine tower
+built by Charles V), added somewhat to the splendours thereof, though in
+a fickle moment, as was his wont, allowed a gap of a dozen years to
+intervene between the outlining of his project and the terrifically
+earnest work which finally resulted in the magnificent structure
+accredited to him, though indeed it meant the demolition of the original
+edifice.
+
+It was at this period that Charles V entered into the ambitious part
+which Francis was to henceforth play in the Louvre, so perhaps the
+interruption was pardonable.
+
+
+
+
+CHAPTER VI
+
+THE LOUVRE OF FRANCIS I AND ITS SUCCESSORS
+
+
+One can attribute the demise of the Old Louvre to the coming of Charles
+V to Paris in 1539. This royal residence, hastily put in order to
+receive his august presence, seemed so coldly inconvenient and
+inhospitable to his host, Francis I, that that monarch decided forthwith
+upon its complete reconstruction and enlargement. Owing to various
+combinations of circumstances the actual work of reconstruction was put
+off until 1546, thus the New Louvre as properly belongs to the reign of
+Henri II as to that of his father.
+
+Francis I, more than any other European monarch of his time, or, indeed,
+before or since, left his mark as an architect of supreme tastes over
+every edifice with which he came into personal contact. His mania was
+for building--when it was not for affairs of the heart--and so daring
+was he that when he could not get an old fabric to remodel he would
+brave all, as did Louis XIV at Versailles, and erect a dream palace in
+the midst of a desert. This he did at Chambord in the Sologne. At Paris
+his difficulties were perhaps no less, but he had his materials and his
+workmen ready at hand.
+
+Francis's repairs and embellishments to the Old Louvre were by no means
+perfunctory, but he saw possibilities greater than he was able to
+perform with the means at hand. He first razed the central tower, or
+_donjon_, and scarce before the departure of his royal guest, was
+already dreaming of replacing the entire fabric with another which
+should bear the same name. One has read of the monarch's thoughts when
+he was awaiting the coming to Paris of his old enemy in the peninsula;
+how he regretted the moment when he should sally out to meet him and
+leave his new-found friend, the Duchesse d'Étampes, in spite of her
+pleadings for him to remain by her. All this is mere historic incident,
+and has little to do with Francis's art instincts and ambitions. He
+probably thought this very thing himself when he replied to the
+importunate lady: "Duchesse, I must tear myself away without more ado; I
+go to meet my brother monarch at Amboise on the Loire."
+
+It was Francis I, the passionate lover of art, who collected the first
+pictures which formed the foundation of the present collections of the
+Musée National du Louvre. He bought many in foreign parts, and many
+others were brought from Italy by Italian artists, whom he had commanded
+to the capital: Primaticcio brought with him, upon his arrival, more
+than a hundred antique statues. These art objects were first assembled
+at Fontainebleau and ornamented the apartments of the king. Among them
+were Da Vinci's "La Joconde" and Raphael's "Holy Family and Saint
+Michael."
+
+Henri II, Henri IV, and Louis XIII did little to enrich the art
+collections of the palace, but Louis XIV charged his minister, Colbert,
+with numerous purchases. In 1661 he bought the fine collection left by
+Cardinal Mazarin, and ten years later purchased the contents of the
+celebrated gallery belonging to the banker Jacob of Cologne. The state
+expended for these acquisitions nearly six hundred thousand _livres_,
+and received for this sum six hundred paintings and six thousand
+drawings.
+
+It was at this period that the royal collections were transferred to
+Paris, a little before the death of Colbert, when they were placed in
+the galleries of the Louvre; though it was a hundred years later that a
+national museum was actually created. This was virtually brought about
+from the fact that the royal collections were transported in a great
+part to Versailles, only to be returned to Paris in 1750, transferred
+again to Versailles, and ultimately to be returned to Paris under the
+sheltering wing of the grand old Louvre.
+
+The Museum of the Louvre, the Museum National et Central des Arts, is
+the outgrowth of a Decree of the Convention, dated July 27, 1793. It was
+aided and enriched considerably under Napoleon I, that passionate lover
+of the beautiful, who, none too scrupulously, would even seek to "make a
+campaign" in order to acquire art works for the museum of his capital.
+
+Many of these abducted art treasures (like the horses of Saint Marc, for
+instance) were afterwards returned to their original owners, but the
+nucleus of this unrivaled art museum was chiefly due to the consul and
+emperor.
+
+As soon as Charles V had left the Louvre demolition was at once begun by
+Francis, and in 1541 an Italian, Serlio, was bidden prepare a set of
+plans for the Renaissance glory that was to be. Serlio, refusing, or
+debating the price, was cast aside for the Frenchman, Lescot, whose plan
+was adopted.
+
+The work can in no way be said to have suffered by the change of plans,
+for though Pierre Lescot was as yet a name unknown in the world of
+architecture his talents were sufficiently great, magistrate and
+parliamentary counsellor though he was, to give to Paris what has ever
+been accounted its chief Renaissance glory.
+
+Work was begun at once, a work which was not interrupted by intrigues of
+court, of love, of war, nor by the deaths of Francis I nor his
+successor, Henri II.
+
+Although the work was begun in an energetic manner it was 1555 before
+the western wing was ready for the hand of the sculptors, but from this
+time on, judging from the interpolated monograms of Charles IX and Henri
+IV on the south wing, work progressed less hurriedly. The two other
+constructions, which were to enclose the quadrangle to the north and
+east, were completed under such circumstances that there has never been
+a question as to their period.
+
+For fifteen years the work went on, when suddenly it was abandoned as
+were the plans of Lescot. A sole wing, that following the Seine and
+abutting at right angles against the Pavilion de l'Horloge, had
+resulted.
+
+The sculptures of its south façade, as well as certain of its interior
+decorations, were entrusted to Jean Goujon (1520-1572), who became a
+victim of the horrible night of Saint Bartholomew, planned in the same
+Louvre by the wily Médici.
+
+Henri II often dwelt over Lescot's plans and devices, and, on one
+occasion, when the poet Ronsard was present, demanded of the architect
+the meaning of the decorations surrounding a great _oeil-de-boeuf_
+window, two kneeling figures, one blowing a trumpet, and the other
+extending a palm branch. "Victory and Fame," replied Lescot. And, in
+honour of the architect and his sentiment, Ronsard composed his
+"Franciade." The detail was actually by Goujon, whose design it was,
+under the oversight of the master architect. One may see this _chef
+d'oeuvre_ to-day just above the courtyard portal to the west.
+
+At the death of Henri II, Catherine de Médici came here to live alone,
+and built the great extension, which stands to-day and joins the Old
+Louvre with that portion along the banks of the Seine by the double
+arch, through which swing the autobusses coming from the Rive Gauche
+with such a Juggernaut grind that fears for the foundation of the palace
+are ever uppermost in the minds of those responsible for its
+preservation.
+
+[Illustration: _The Louvre_]
+
+It is in this Catherine de Médici portion of the Louvre (1578) that the
+present Galerie des Antiques is installed, and which is usually
+thronged, in season and out, with globe-trotting sight-seers who give
+seldom a thought to its constructive elegance and its association with
+the Médici.
+
+With the first years of the reign of Charles IX, there is to be remarked
+a notable slowness of procedure with regard to the construction of the
+New Louvre. This was brought about chiefly by the conception of the
+Tuileries and the work which was actually begun thereon. Soon a gigantic
+idea radiated from the ambitious mind of Catherine de Médici. In this
+connection it must be remembered, however, that Catherine, so commonly
+reviled as "the Italian," was not all Italian; French blood flowed
+through her veins through that of her mother, Madeleine de la Tour
+d'Auvergne. She came first to France, landing at Marseilles, whence she
+arrived from Leghorn, and forthwith commenced her journey Parisward,
+arriving finally at the Louvre as the bride of Prince Henri in the guise
+of a simple, clever girl, though indeed she was twenty years the elder.
+
+Now she dreamed of uniting her chateau of the Tuileries with that of the
+king by a long, connecting gallery. She put action to the thought and
+under Pierre (II) Chambiges, a relative of the Chambiges of
+Fontainebleau and Saint Germain, the Petite Galerie, a mere means of
+communication between the two chateaux, and not the least to be likened
+to a defensive structure, was begun and work thereon carried out between
+1564 and 1571, though it remained for Thibaut Metezeau, in 1595-1596, to
+carry it on a stage further under Henri IV.
+
+This architect introduced the notorious mezzanine, which has so
+intrigued historians of the Louvre because of the unequal elevations of
+the various floors, a procedure which was unavoidable save by recourse
+to a substitution less to be objected to than the existing fault.
+Actually the connection with the Tuileries was made by the prolongation
+of this gallery by the Ducerceau brothers in 1595. The work existing
+to-day, but only in its reconstructed form, is the same as that
+completed by Napoleon III (1863-1868).
+
+Charles IX and Henri III, though making the Louvre their residence,
+practically had no hand in its embellishment. The former gave his
+energies and ideals full play in the Saint Bartholomew massacres and
+shot at poor unfortunates who fled beneath the windows of his apartments
+on the quay-side of the Louvre. This, if not the chief incident of his
+association with the fabric, is at least the best remembered one. Henri
+III, too, led a scandalous life within the walls of the Louvre and fled
+on horseback, smuggled out a back door, as it were, on a certain May
+evening in 1588, never more to return, for the Dominican monk Jacques
+Clément killed him with a knife-thrust before he had got beyond Saint
+Cloud.
+
+The accepted tale of the part played by the famous window of the Louvre
+in the drama of Saint Bartholomew's night is as follows: As the signal
+tolled from the belfry of Saint Germain l'Auxerrois it was answered by
+another peal from the great bell of the Palais de Justice, where, within
+a small apartment over the watergate of the Louvre, the queen and her
+two sons were huddled together not knowing what might happen next. The
+multitude streamed by on the quay before the palace, and, finally, amid
+all the horror of Coligny's murder, and the throwing of his body from a
+window of the Louvre to the street below, Charles IX stood at his window
+regarding the fleeing Huguenots as so much small game, shooting away at
+them with an arquebuse as they went by, and with an unholy glee, even
+boasting that he had killed a score of heretics in a quarter of an hour.
+
+Historians of those exciting times were perhaps none too faithful
+chroniclers and Charles's "excellent shots" in his "royal hunt," and
+hideous oaths and threats such as: "We'll have them all, even the women
+and children," are not details as well authenticated as we would like to
+have them. Like Rizzio's blood stains they lack conviction.
+
+The ambitious white-plumed Henri de Navarre, when he became Henri IV of
+France, set about to connect the tentacle which stretched southward from
+the Old Louvre with the Tuileries (a continuation of the project of
+Catherine de Médici), and, by the end of the sixteenth century, had
+built a long façade under the advice of the brothers Ducerceau. This
+work was added to on the courtyard side under the Second Empire, when a
+reconstruction, more likely a strengthening of underpinning and walls
+because of their proximity to the swift-flowing waters of the Seine, of
+the work of Henri IV was undertaken.
+
+Joining the Tuileries and this work of Ducerceau was the celebrated
+Pavilion de Flore, a work of the Henri IV period rather than that of
+Catherine de Médici.
+
+From the Pavilion de Flore to the Pavilion de Lesdiguières ran this long
+gallery of the Ducerceau and numerous interstices and unfinished vaults
+and arches leading towards the Old Louvre were, at this epoch, completed
+by Metezeau and Dupaira. The chief apartment of this structure became
+known as the _Galerie Henri IV_, and was completed in 1608.
+
+At the death of Henri IV, Richelieu, who at times builded so well, and
+who at others was a base destroyer of monuments, demolished that portion
+which remained of the edifice of Charles V. The work of Pierre Lescot
+was preserved, however, and to give symmetry and an additional extent of
+available space the rectangle facing Saint Germain l'Auxerrois to-day
+was completed, thus enclosing in one corner of its ample courtyard the
+foundations of the earlier work whose outlines are plainly traced in the
+pavement that those who view may build anew--if they can--the old
+structure of Philippe Auguste. In mere magnitude the present quadrangle
+is something more than four times the extent of the Louvre of the time
+of Charles V.
+
+This courtyard of the Louvre is perhaps that spot in all Paris which
+presents the greatest array of Renaissance art treasures. From ground to
+sky-line the façades are embroidered by the works from the magic hand of
+the _Siècle Italien_. Jean Goujon himself has left his brilliant
+souvenirs on all sides, caryatides, festoons, bas-reliefs, statues and
+colonnades.
+
+Enthusiasm and devotion knew no bounds among those old craftsmen, but
+all is well-ordered, regular and correct. "He who mentions the Louvre to
+a Frenchman gives a greater pleasure than that of Méhémet-Ali when one
+praises the pyramids." In a way the Louvre is the most magnificent
+edifice in the universe; "four palaces one piled up on another, _une
+ville entière_." And when the Louvre was linked with the Tuileries in
+the real, what a splendour it must have been for former generations to
+marvel at! "_La plus belle et la plus grande chose sous le soleil._"
+
+This work of aggrandizement of the quadrangle was carried out by the
+architect Lemercier on the basis of a project adopted in 1642, and, to a
+great extent, completed before the arrival of Anne d'Autriche, twenty
+years later.
+
+This queenly personage had ideas of her own as to what sort of a
+residence she would have in Paris, and beyond her personal needs little
+was done for the moment towards actually linking up the various loose
+ends, each more or less complete in itself, which now composed the Paris
+palace of the French monarchs.
+
+Her son, the king in person if not in power, was not likely to be
+endowed with instincts which would put him in the rank of the
+traditional castle or palace builders of his race; it was literature,
+music and painting which more particularly flourished during his reign,
+and so the Austrian contented herself at first with merely putting the
+former apartments of Catherine de Médici into condition for her personal
+use and building a Salle-de-Spectacle, and--happy thought--a
+Salle-des-Bains.
+
+Louis XIV, as he found time, after the war of the Fronde, actually did
+bethink himself of completing, in a way, the work of his elders, and
+charged the architect Levau to finish off the north wing, which was done
+in 1660. A year later the Galerie Henri IV was practically destroyed by
+fire and rebuilt by Levau, who gave the commission for its interior
+decoration to Lebrun.
+
+Soon the south wing was completed, leaving only the gap for the eastern
+façade which was intended to be the chief entrance to the mass of
+buildings, which still bore the comprehensive name of "The Louvre."
+
+For the accomplishment of this façade, the demolition of certain
+dwellings of the nobility which had clustered around the royal fabric
+was necessary, and the Hotels du Petit Bourbon, de Villequier, de
+Chaumont, La Force, De Créquy, de Longueville, and de Choisy fell before
+the picks of the house-breakers. Levau commenced work on the façade at
+once, and made rapid progress until 1664, when an abrupt order came for
+him to stop all work. Political conspiracy, graft, if you like, was at
+work, and Colbert, little favourable towards Levau, made a proposition
+to the king to open a competition for the design and execution of the
+façade. Willingly enough, his mind doubtless more occupied with other
+things, Louis XIV agreed, and a general call was sent out to all French
+architects to enter the lists. Confusion reigned, and Levau was about to
+be recalled when Colbert spied an unrolled parchment in the corner and
+pounced upon it eagerly as the means of saving him from the dubious
+efforts of the former incumbent.
+
+It was the "non-professional" plan submitted by a doctor in medicine,
+one Charles Perrault. Jealous competitors made all sorts of criticisms
+and objections, the chief contention being that if by any chance an
+architectural design by a "pill-roller" proved pleasing to the eye it
+was bound to be impracticable from an economic or constructive point of
+view, or both. This is often enough true, and it proved to be so in this
+case, for in spite of a certain amount of advice from an expert Italian
+builder, who had come to Paris to help the good doctor with his
+difficult task (for he actually received a commission for the work and
+completed it in 1674), the façade did not fit the rest of the fabric
+with which it was intended to join up, and to-day it may be observed by
+the curious as being several feet out of line with the structure which
+faces on the Rue de Rivoli.
+
+Louis XIV practically had no regard for the Louvre and its architectural
+traditions; his palatial garden-city idea, worked out at Versailles,
+shows what an innovator he was. He allowed the Louvre to be filled up
+with all sorts of riffraff, who were often given a lodging there in
+place of a money payment for some service rendered. The Louvre thus
+became a sort of genteel poor-house, while king and court spent their
+time in the more ample country-house behind the Meudon hills.
+
+By 1750 the Louvre had become little more than an immense ruin, humbled
+and desecrated; a veritable orphan. The Marquis de Marigny, Surintendant
+des Batiments Royaux, obtained the authorization to chase out the
+parasites and clean up the Augean stable and put things in order as best
+pleased his esthetic fancy, but only with the early years of the
+nineteenth century did the Louvre become a real palace again and worthy
+of its traditions.
+
+From 1803 to 1813 the architects Fontaine and Percier were constantly
+engaged in the work of repairs and additions, and built (for Napoleon I)
+the gallery which extends from what is now the Place Jeanne d'Arc to the
+Pavillon de Rohan, along the Rue de Rivoli. This detached portion (bound
+only to the Tuileries) was finally joined to the seventeenth century
+work of Lemercier under Louis Napoleon in 1852. This gallery, the work
+of "moderns," is no mean example of palace-building, either. It was the
+work of Visconti and Lefuel, and with the adoption of this plan was
+finally accomplished the interpolation of that range of pavilions which
+gives the architecture of the Louvre one of its principal distinctions.
+Named after the principal ministers of former administrations--Donon,
+Mollien, Daru, Richelieu, Colbert, Turgot, etc., these pavilions break
+up what would otherwise be monotonous, elongated façades.
+
+The inauguration of this last built portion of the palace was held on
+August 14, 1857, the occasion being celebrated by a banquet given by
+Napoleon III to all the architects, artists and labourers who had been
+engaged upon the work. In the same Salle, two years later, which took
+the name of Salle des États, the emperor gave a _diner de gala_ to the
+generals returning from the Italian campaign.
+
+Still further résumé of fact with regard to the main body of the Louvre,
+as well as with respect to its individual components, will open
+never-ending vistas and pageants. It is not possible in a chapter, a
+book or a five-foot shelf to limn all that is even of cursory interest.
+The well-known, the little-known and the comparatively unknown mingle in
+varying proportions, according to the individual mood or attitude. To
+some the appeal will lie in the vastness of the fabric, to others in the
+varied casts of characters which have played upon its stage, still
+others will be impressed with the dramatic incidents, and many more will
+retain only present-day memories of what they have themselves seen. The
+Louvre is a study of a lifetime.
+
+To resume a none too complete chronology, it is easy to recall the
+following important events which have taken place in the Louvre since
+the days of Henri III, the period at which only the barest beginnings of
+the present structure had been projected.
+
+In 1591 a ghastly procedure took place when four members of the Conseil
+des Seize were hung in the Salle des Caryatides by orders of the Duc de
+Mayenne.
+
+Like the horoscope which foretold the death of Henri III, another royal
+prophecy was cast in 1610 that reminds one of that which perhaps had
+not a little to do with the making away with the last of the Valois
+princes.
+
+The Duc de Vendome, the son of Henri IV by Gabrielle d'Estrées, handed
+the king a documentary horoscope signed by an astrologer calling himself
+La Brosse, which warned the king that he would run a great danger on May
+14 in case he went abroad.
+
+"La Brosse is an ass," cried the king, and crumpled the paper beneath
+his feet.
+
+On the day in question the king started out to visit his minister,
+Sully, at the Arsenal. It was then in turning from the Rue Saint Honoré
+into the Rue de la Ferronière that the royal coach, frequently blocked
+by crowds, offered the opportunity to the assassin Ravaillac, who,
+jumping upon the footboard, stabbed the king twice in the breast.
+
+After having been wounded the king was brought dying to the Louvre. His
+royal coach drew up beneath the vault through which throngs all Paris
+to-day searching for a "short cut" from the river to Saint Honoré. It
+was but a short, brief journey to the royal apartments above in the
+Pavilion de l'Horloge, but it must have been an interminable calvary to
+the gallant Henri de Navarre. The body was received by Marie de Médici
+in tears, and the Ducs de Guise and d'Epernon clattered out the
+courtyard on horseback to spread the false news that the king had
+suffered no harm. Fearing the results of too precipitate publishing of
+the disaster no other course was open.
+
+A gruesome memory is that the Swiss Guard at the Louvre surreptitiously
+acquired a "_quartier_" of the dismembered body of the regicide and
+roasted it in a fire set alight beneath the balcony of Marie de Médici
+as an indication of their faithfulness and loyalty.
+
+It was Sully, the king's minister, who ran first up the stairs to
+acquaint the queen of the tragedy--faithful ever to the interests of his
+royal master. In spite of this, one of the first acts of Marie de Médici
+as regent was to drive the Baron de Rosny and Duc de Sully away. Such is
+virtue's reward--sometimes.
+
+       *       *       *       *       *
+
+"Lying on his bed, his face uncovered, clad in white satin and a bonnet
+of red velvet embroidered with gold, was all that remained of Henri IV
+of France and Navarre. Around the bed were nuns and monks from all the
+monasteries of Paris to keep vigil of his soul."
+
+So ends the chronicle closing the chapter of the relations of Henri IV
+with his Paris palace.
+
+No particularly tragic event took place here for some years. Henriette
+de France, widow of Charles I of England, taking refuge in France from
+the troublous revolt at home, lived in the Louvre in 1644. She had at
+first been graciously received by Mazarin, but was finally accorded only
+the most strict necessities of life, a mere lodging in the Louvre, a
+modest budget and a restricted entourage.
+
+In 1662, under Louis XIV, Molière and his troup, in a theatre installed
+in the Salle des Caryatides, gave the first "command" performance on
+record. The plays produced were, "Nicodeme" and "Le Docteur Amoureux."
+
+An "art note" of interest is that Sylvain Bailly, the first curator of
+the Musée du Louvre, was born within its precincts in 1736.
+
+In the dark days of July, 1830, the populace attempted to pillage and
+sack the palace, but after a bloody reprisal retired, leaving hundreds
+of dead on the field. The _parterre_ beneath the famous colonnade was
+their burial place, though a decade later the bodies were exhumed and
+again interred under the Colonne de Juillet in the Place de la Bastille.
+
+Le Notre, the gardener of kings, laid out the first horticultural
+embellishments of the palace surroundings under Louis XIV, and with
+little change his scheme of decoration lasted until the time of Louis
+Philippe, who made away with much that was distinctive and excellent.
+
+Napoleon III came to the front with an improved decorative scheme, but
+the hard flags of to-day, the dusty gravel and the too sparse
+architectural embellishments do not mark the gardens of the Louvre as
+being anything remarkable save as a desirable breathing spot for Paris
+nursemaids and their charges.
+
+The iron gates of the north, south and east sides were put into place
+only in 1855, and at the Commune served their purpose fairly well in
+holding the rabble at bay, a rabble to whose credit is the fact that it
+respected the artistic inheritance enclosed by the Louvre's walls. No
+work of art in the museums was stolen or destroyed, though the library
+disappeared.
+
+
+
+
+CHAPTER VII
+
+THE TUILERIES AND ITS GARDENS
+
+
+[Illustration: ORIGINAL PLAN of the TUILERIES]
+
+No more sentimental interest ever attached itself to a royal French
+palace than that which surrounded the Tuileries from its inception by
+Charles IX in the mid-sixteenth century to its extinction by the Commune
+in 1871.
+
+The Palace of the Tuileries is no more, the Commune did for it as it did
+for the Hotel de Ville and many another noble monument of the capital,
+and all that remains are the gardens set about with a few marble
+columns and gilt balls--themselves fragments of former decorative
+elements of the palace--to suggest what once was the heritage bequeathed
+the French by the Médici who was the queen of Saint Bartholomew's night.
+
+It was a palace of giddy gayety that drew its devotees to it only to
+destroy them. "Crowned fools who wished to be called kings, and others."
+Even its stones were chiselled as if with a certain malignancy and
+fatalism, for they have all disappeared, and their history, even, has
+not been written as large as that of those of many contemporary
+structures.
+
+Of the last five kings to which the Tuileries gave shelter--not counting
+the Second Emperor--only one went straightway to the tomb; one went to
+the scaffold and three others to exile. A sorry dowry, this, for an
+inheritor of a palace at once so noble and admirable in spite of its
+unluckiness.
+
+With the court followers and the nobility of the last days of the
+monarchy it was the same thing; the Tuileries was but a temporary
+shelter. The scaffold accounted for many and banishment engulfed others
+to forgetfulness.
+
+It was a commonplace at the time to repeat the warning: "O! Tuileries!
+O! Tuileries! Mad indeed are those who enter thy walls, for like Louis
+XVI, Napoleon, Charles X and Louis Philippe you shall make your exit by
+another door."
+
+The origin of the name Tuileries is somewhat ignominiously traced from
+that of a tile factory which existed here in the heart of Paris, on the
+banks of the Seine, in the sixteenth century. The property, which
+comprised a manor-house as well as the tile fields, was known by the
+name of La Sablonnière, and came to the Marquis Neuville de Villeroy,
+Superintendent of Finances, who built on the spot a sort of fortified
+chateau, which, if not of palatial dimensions, was of a palatial
+prodigality of luxury.
+
+Louise de Savoie, mother of Francis I, acquired the property in 1518 and
+nine years later gave it to Jean Tiercelin, the Maitre d'Hotel of the
+dauphin, who later was to become Henri II.
+
+The lodge, or manor-house, had, by 1564, fallen into so ruinous a state
+that Catherine de Médici, the widow of Henri II, set about to lay the
+foundations of a new royal palace.
+
+Catherine never resided in her projected palace, and in 1566 Charles IX,
+her son, gave the commission to Philibert Delorme to build a palace,
+"neighbouring upon the Louvre, but not to be connected therewith, on the
+site of the Tuileries."
+
+On July 11, work was begun, and the central pavilion and the two
+extremes were carried up two stories within a year. The central
+structure was a great circular-domed edifice, enclosing a marvellous
+Escalier d'Honneur. The façade, preceded by two terraced porticos, was
+on the courtyard, or garden, between the edifice and the Louvre. It sat
+back to the present Rue des Tuileries.
+
+The Tuileries did not become a royal residence for some time after its
+completion, for Charles IX clung tenaciously to his well-guarded
+apartments in the Louvre; for the central structure of the Tuileries,
+because of its lack of comparative height, was hardly as much of a
+stronghold as he would have liked.
+
+A contemporary note in connection with Charles IX and the Tuileries is
+found in Ronsard's "_Épitre à Charles IX_."
+
+   "J'ay veu trop de maçons
+   Bastir les Tuileries,
+   Et en trop de façons
+   Faire les momeries."
+
+Work on the edifice so auspiciously planned by Delorme was practically
+discontinued during the reign of Henri III, owing to lack of funds.
+
+The Renaissance of Delorme, Bullant, Lescot, each of whom had a hand in
+the building of the Tuileries, expressed certain characteristic phases
+of architectural art in the reigns of Francis I and Henri II. The reign
+of Charles IX was only another phase of that long reign of Catherine de
+Médici, and architectural influences continued to follow along the same
+reminiscent Italian lines, particularly with reference to such edifices
+as the Médici herself caused to be built. In the dedication of Philibert
+Delorme's "_Traite d'Architecture_" he expressed himself thus with
+regard to the Tuileries:
+
+"Madame, I see from day to day with an increasing pleasure the interest
+that your Majesty takes in architecture. The palace which you have built
+at Paris near the Pont Neuf and the Louvre is, according to its
+disposition, excellent and admirable to the extent that it pleases me
+beyond measure."
+
+After Delorme considerable changes were made and successfully carried
+out under the architects Ducerceau, Duperac, Levau and Dorbay.
+
+A distinct feature of the work of Delorme was his use of the column
+ornamented throughout its length, which, as he says in his written
+works, he first employed in the "_Palais de la Majesté de la Royne-Mere
+à Paris_."
+
+Of the ability of Delorme there is no diversity of opinion to-day, nor
+was there in his time. Besides the Tuileries he has to his credit the
+Chateau d'Anet, the Chateau de Saint Maur, that of Meudon--built for the
+Cardinal de Lorraine,--and his important additions to the Chateau de la
+Muette and the Chateaux of Saint Germain, Madrid and Fontainebleau.
+
+As might be supposed Catherine de Médici professed a great admiration
+for Delorme and recompensed his talents with a royal generosity, even
+nominating him as Abbé of the Convent of Saint Eloi de Noyon, a fact
+which caused the poet Ronsard to evolve a political satire: "La Truelle
+Crossée."
+
+At the same time that she was building the Tuileries Catherine de Médici
+caused additions to be made to the Louvre; at least she undertook the
+completion of the unfinished portion, which had been left for other
+hands to do.
+
+The first historic souvenir which stands out prominently with regard to
+the Palais des Tuileries is the fête given four days before the fateful
+Saint Bartholomew's night. It was the marriage fête of the gallant Henri
+de Béarn, King of Navarre, and the wise and witty Marguerite de Valois.
+
+Henri IV, coming to the throne a quarter of a century after the
+admirable first year's work on the Tuileries had been completed, found
+that little had been done towards making it a really habitable place. It
+had been hurriedly finished off to the second story, and had served well
+enough for a temporary residence, or as an overflow establishment where
+balls and fêtes might be given without crowding, but to the ambitious
+Henri IV nothing would do but that the pavilions should be bound
+together with a more imposing ligature, and that the Pavillon de Flore
+should in turn be linked up with the Louvre by a gallery.
+
+Under Louis XIII this latter really came to a conclusion according to
+the plans of the architect Ducerceau, but the inspiration of making the
+Louvre and the Tuileries one was due to Henri IV.
+
+Under Louis XIV and Louis XV the palace in its still attenuated form was
+scarcely more than a rambling lodging, utterly lacking any of the noble
+apartments with which it was afterwards endowed. The court at this time
+practically made Versailles its headquarters. Neither of the
+above-mentioned monarchs made aught but cursory visits to the Tuileries
+and left its occupancy to officers of the household and ministers of
+state.
+
+It was in the reign of Louis XV that the Florentine artist, Servandoni,
+who was at the same time an eminent architect, a remarkable painter and
+a _maestro_ of a musician, organized in the Palais des Tuileries the
+Theatre des Machines, the first installed at Paris, and there came the
+Comédie Française, the Opera and the Bouffes (the _Comédie Italienne_)
+and gave command performances before the court.
+
+When the French resolved that Louis XVI should live in Paris, the Palais
+des Tuileries was actually offered him, but it was a rather shabby place
+of royal residence so far as its interior appointments were concerned,
+though in all ways appealing when viewed from without. Considerable
+repairs and embellishments were made, but warring factions did much to
+make difficult any real artistic progress.
+
+With the advent of Louis XVI there came a contrast to gayety and freedom
+from care in royal hearts and heads. On October 5 Louis XVI and the
+royal family hid themselves behind barred doors, the convention taking
+up its sittings under the same roof and forthwith passing an act which
+allowed the completion of the palace according to the plans of Vignon at
+an expense of three hundred thousand _livres_. An almost entire
+transformation took place, the money being seemingly well spent, and the
+structure now first took its proper place among the monumental art
+treasures of the capital.
+
+A dramatic incident took place at the great gate of the Tuileries, which
+faced the courtyard, when, on May 28, 1795, the populace surged in waves
+against its sturdy barrier. The Deputy Féraud met them at the steps.
+"You may enter only over my dead body," he said. No reply was made but
+to crack his skull, behead the trunk and carry the head aloft on a pike
+to the very Tribune where Boissy d'Anglas was presiding.
+
+The Salle de Spectacle of the Tuileries was, even at this period, the
+largest auditorium of its kind in Europe, having eight thousand stalls
+and boxes, which gave a seating capacity of considerably more than that
+number of persons.
+
+In 1793 this playhouse, of which the parquet occupied the ground floor
+of the Pavillon de Marsan, underwent a strange metamorphosis when it
+became the legislative hall for the National Convention. All the names
+and emblems showing forth in its decorations and indicative of its
+ancient rule were changed into Republican devices and symbols. The
+Pavillon de Marsan was called the Pavillon de l'Egalité, the Pavillon du
+Centre became the Pavillon de l'Unité and the Pavillon de Flore the
+Pavillon de la Liberté, where was lodged the Committee of Public
+Safety.
+
+The Hall of the Convention, according to reports of the time, was an
+appalling mixture of grandeur and effeminacy with respect to its
+architectural lines. Surrounding that portion where the legislators
+actually sat was the great amphitheatre which for three years was
+occupied by a curious, vociferous public, more demonstrative, even, than
+those that had attended the former theatrical representations in the
+same apartment.
+
+From the opening of the National Convention to the reaction of
+"Thermidor" it is estimated that more than three million people assisted
+at what they rightly, or wrongly, considered as a "spectacle" staged
+only for their amusement.
+
+By the time Napoleon had come into power the Tuileries was hardly
+habitable, and before taking up his residence he was obliged to make
+immediate and extensive transformations.
+
+On February 19, 1800, Napoleon, still First Consul, left the Palais de
+Luxembourg and took up his residence in the Tuileries, the Third Consul,
+Lebrun, being lodged in the Pavillon de Flore, in the "Petite
+Appartement," which Marie Antoinette had fitted up for her temporary
+accommodation when in town. Lebrun, however, gave up his lodging to the
+Pope when the Pontiff came to Paris at Napoleon's orders. Consul
+Cambacères, however, refused to shelter himself beneath the roof of the
+Tuileries, and indicated a preference for the magnificent Hotel
+d'Elboeuf, which was accommodatingly put at his disposition.
+
+Napoleon entered the Tuileries in state, preceded and followed by an
+imposing cortège. At the gate of the Carrousel the consuls alighted from
+their carriages, and were received by the Consular Guard. On their
+arrival the consuls read the following inscription posted at the
+entrance: "On August 10th monarchy in France was forever abolished; it
+will never be restored." By the 20th of February the inscription had
+disappeared. Besides, orders were given to cut down the two liberty
+trees which had been planted in the courtyard. On August 10 a large
+quantity of cannon shot had been lodged in the façade of the Tuileries,
+and around the shot were written these words: "Tenth of August." The
+cannon balls disappeared, as well as the inscriptions, when the Arc de
+Triomphe was erected on the Place du Carrousel.
+
+This alteration gave great satisfaction. It was important for the
+tranquillity of France that the new government should inherit rather the
+sword of Charlemagne than the guillotine of Marat.
+
+[Illustration: _Salle des Marechaux, Tuileries_]
+
+The imperial court soon displayed its splendour and magnificence in
+the Palais des Tuileries, as a foregone conclusion anticipated.
+
+In a gorgeous and imposing Salle du Trone one might have seen in the
+deep casement of the central window, standing up, their hats off, the
+group of the Corps Diplomatique, the members of which, loaded with
+decorations, ensigns, and diamonds, trembled in the presence of the
+Little Corporal of other days; on the other side, the host of the
+Princes of the Rhine Confederation--all the personages that Germany,
+Russia, Poland, Italy, Denmark, Spain, all Europe, in one word, England
+excepted, had sent to Paris.
+
+It is needless to say that the wedding reception of Napoleon and Marie
+Louise at the Tuileries was celebrated with unusual magnificence.
+Another event, on account of its peculiar moment, strongly excited the
+enthusiasm of the French. On March 20, 1811, at seven o'clock in the
+morning, the first salute of cannon announced that the empress had given
+birth to a child, the future Aiglon, the King of Rome.
+
+After Napoleon's occupancy of the Tuileries it again served the monarch
+under the Empire, the Restoration, under Louis Philippe and under the
+Second Empire. The palace of unhappy memory saw successively the fall of
+Napoleon, the entry of Louis XVIII, the file-by of the Allies, the
+flight of Louis XVIII, of Charles X, Louis Philippe and Napoleon III.
+
+Up to the time of the Second Empire the Tuileries preserved, more or
+less, its original interior arrangement, and, to a great extent, the
+decorations with which it had been embellished under Louis XIV, Louis
+XVI, and Napoleon I.
+
+The Pavilion de Flore, at the juncture of the Tuileries and the Louvre
+of Henri IV, was practically rebuilt during the Second Empire, but it
+followed closely the contemporary designs of the adjoining building.
+Here are quartered executive offices of the Préfecture de la Seine. That
+portion facing the Pont Royal contains a series of fine sculptures by
+Carpeaux, the sole modern embellishments of this nature to be seen in or
+on a Paris palace.
+
+As the Commune mob was fleeing before the army of Versailles a
+conflagration broke out in the Tuileries and soon the whole edifice was
+in flames. Within what may have been the briefest interval on record for
+a conflagration of its size the Tuileries was but a smoking pile of
+half-calcined stones.
+
+The Tuileries had another brief day of glory when the Prince President,
+Louis Napoleon, entered its gates, coming straight from his inauguration
+at Notre Dame.
+
+The cannon at the Hotel des Invalides blazed out a welcome and every
+patriot Republican shouted: "Vive Napoleon!" They little knew, little
+cared perhaps, that he would some day become the Second Emperor.
+
+The throng poured forth from the cathedral after the _Domine Salvum_ and
+the benediction, the clergy leading the way, followed by the president
+and his attendants. The orchestra played a lively march, and the great
+bell in the tower boomed forth a glorious peal.
+
+       *       *       *       *       *
+
+The president's carriage drew up before the gates of the Tuileries and
+he entered the great apartment where a reception was given to various
+public and military bodies. Between seven and eight thousand naval and
+military officers paid their respects, and about half a battalion of the
+army saluted, among them two Mamelukes. While this ceremony was going
+on, the Place du Carrousel was occupied by several squadrons of cavalry
+and the inner courtyards were practically infantry camps. The government
+was taking no chances at the beginning of its career. The reception
+lasted until well on towards evening, when a banquet of four hundred
+covers was laid and partaken of by the invited guests.
+
+The last days of the Tuileries may be said to have commenced with that
+eventful September 3, 1870, at five o'clock in the afternoon, when the
+Empress Eugenie received a telegraphic despatch from Napoleon III
+announcing his captivity and the defeat of Sedan. It was the overthrow.
+
+The evening and the night were calm; the masses, as yet, were unaware of
+the fatal news the journals would publish on the morrow. The following
+day was Sunday; the weather superb; the disaster was finally announced
+and the masses thronged from all parts to the Place de la Concorde,
+where a squadron of Cuirassiers barred the bridge leading to the Palais
+Bourbon where the deputies were in session.
+
+On the arrival of the news the empress had called in General Trochu, the
+Military Governor of Paris, and asked him if he could guarantee order.
+He replied in the affirmative. Some hours later a group of deputies came
+to the empress and counselled her to sign, not an abdication, but a
+momentary renunciation of her powers as regent. Eugenie refused
+point-blank.
+
+The throng, passing by the left bank, had arrived at the Chamber of
+Deputies, and the formal sitting became a revolutionary one. At three
+o'clock the imperial dynasty was proclaimed as at an end, and a
+provisionary government installed. Henri Rochefort, the present editor
+of the "_Intransingeant_," was delivered from the prison of Sainte
+Pélagie and made a member of the government.
+
+By this time the mob which had invaded the Place de la Concorde became
+menacing. The cry, "Aux Tuileries," first launched by the street gamins,
+soon became the slogan of the crowd. To say it was to do it; the great
+iron gates were closed, but in default of a protecting force of arms it
+was an easy matter to scale them.
+
+Behind the curtained windows of the palace the empress witnessed the
+assault and murmured to her ladies-in-waiting: "It is then finished."
+She turned towards the Prince de Metternich and the Chevalier Nigra,
+and, in the voice of a suppliant, demanded: "_Que me consillez vous?_"
+
+"You must leave at once, Madame; in a moment the palace will be
+invaded."
+
+The empress became resigned and accompanied by Madame Le Breton,
+Metternich and Nigra started for the Pavilion de Flore, passing through
+the Galerie de Musée and the Galerie d'Apollon, finally leaving by the
+gate of the Louvre, which is opposite Saint Germain l'Auxerrois.
+
+The empress was at last out of the palace, but not yet out of danger. A
+band of manifestants, making for the Hotel de Ville and shouting; "Vive
+la Republique," recognized the empress, but she mounted an empty fiacre
+with Madame Le Breton, and giving the driver the first address that
+entered her mind thus escaped further indignities, and perhaps danger.
+Finally she found a refuge with Doctor Evans, the American dentist
+living in the Avenue Malakoff, from whose house she left for England on
+the following day.
+
+This is the Frenchman's point of view of one of the picturesque
+incidents of history. It disposes of the legend that the empress left
+the Tuileries in the carriage of Doctor Evans, but this cannot be
+helped, with due regard for the consensus of French opinion. Doctor
+Evans was a family friend, besides being the dentist who cared for the
+imperial teeth, and it is not going beyond the truth to state that the
+fortunate American acquired not a little of his vogue and wealth by his
+association with Napoleon III and his family.
+
+By this time the populace had invaded the palace and cursed with
+indignities unmentionable the marble halls, and the furnishings in
+general, and pillaged such portable property as pleased the individual
+fancies of the spoilsmen.
+
+After the signing of the Peace Treaty by the Bordeaux Assembly, which
+now represented the governmental head, and Thiers had become president,
+that worthy would do away with the cannon of which the National Guard
+still held possession in their garrison on the Butte of Montmartre. The
+orders which he sent forth came to be the signal for another outbreak on
+the part of the populace. On March 18 the Commune was proclaimed and
+Citoyen Dardelle, an old African hunter, was appointed military governor
+of the Tuileries. Whatever this individual's military qualifications may
+have been, he delivered himself to the enjoyment of a high and dissolute
+life in his luxurious apartments in the palace; a fact which was
+speedily made note of by the still restless populace.
+
+The Citoyen Rousselle, a member of the Communal Government, had the idea
+of organizing a series of popular concerts in the gardens of the
+Tuileries for the profit of the wounded in the late friction.
+
+Hung on the walls, at the entrance of each apartment was a placard which
+read: "Fellow men, the gold with which these walls were built was earned
+by your sweat." "To-day you are coming to your own." "Remain faithful to
+your trust and see to it that the tyrants enter never more."
+
+During one of these public concerts a poem of Hégésippe Moreau was read
+which terminated as follows, and set the populace aflame.
+
+          *       *       *
+   "Et moi j'applaudirai; ma jeuneusse engourdie
+   Se réchauffera a ce grand incendie."
+
+He referred to the burning of the former abode of emperors and kings as
+a sort of sacrifice to the common good. The public had held itself in
+hand very well up to this moment, but applauded the verses vociferously.
+The last of the concerts was held on May 21, the same day as the Army of
+Versailles entered Paris. Night came, and with it the raging, red flames
+springing skywards from the roof of the Tuileries.
+
+In a few moments the flames had enveloped the entire building. All the
+forces that it was possible to gather had been ordered upon the scene,
+but they were unable to save the old palace, and by one o'clock in the
+morning it was but a mass of smoking ruins. The Communards had done
+their work well. Before leaving its precincts they had sprinkled coal
+oil over every square metre of carpet, window-hangings and tapestries,
+and the slow-match was not long in passing the fire to its inflammable
+timber. The library of the Louvre was destroyed, but the museums,
+galleries and their famous collections fortunately escaped.
+
+For a dozen years the lamentable ruins of the old palace of the
+Tuileries reared their singed walls, a witness and a reproach to the
+tempestuosity of a people. Finally, in 1882, Monsieur Achille Picard
+undertook their removal for thirty-three thousand francs, and within a
+year not a vestige, not an unturned stone remained in its original place
+as a witness to this chapter of Paris history.
+
+Two porticos of the Pavillon de l'Horloge, originally forming a part of
+the Tuileries, have been re-erected on the terrace of the Orangerie,
+facing the Place de la Concorde.
+
+There remain but two survivors of the late imperial sway in France, the
+Empress Eugenie who lives in England, and Emile Olivier, "_l'homme au
+coeur lèger_," who lives at Saint Tropez in the Midi.
+
+A Paris journalist a year or more ago, while sitting among a little
+coterie of literary and artistic folk at Lavenue's famous terrace-café,
+recounted the following incident clothed in most discreet language, and
+since it bears upon the Tuileries and its last occupants it is repeated
+here.
+
+"Last night beneath the glamour of a September moon I saw a black shadow
+silently creep out from beneath the gloom of the arcades of the Rue de
+Rivoli just below the Hotel Continental. It crossed the pavement and
+passed within the railings of the gardens opposite, one of the gates to
+which, by chance or prearranged design, was still open. It moved slowly
+here and there upon the gravelled walks and seated itself upon a
+solitary bench as if it were meditating upon the splendid though sad
+hours that had passed. Was it a wraith; was it Eugenie, late empress of
+the French?"
+
+To have remembered such a dream of fancy for forty long years one must
+have been endowed with superhuman courage, or an inexplicable
+conscience.
+
+The Rue des Pyramides, which has been prolonged to the banks of the
+Seine, will give those of the present generation who have never seen the
+Tuileries an exact idea of its location. If it still existed the façade
+of the palace would front upon this street.
+
+The most moving history of the detailed horrors of the Commune,
+particularly with reference to the part played by the Tuileries therein,
+is to be found in Maxime Ducamp's "_Les Derniers Convulsions de Paris_."
+
+One relic of the Tuileries left unharmed found a purchaser in a
+Roumanian prince, at a public sale held as late as 1889. This was the
+ornately beautiful iron gate which separated the Cour du Carrousel from
+the Cour des Tuileries. Roumanian by birth, French at heart and Parisian
+by adoption, this wealthy amateur, for a trifle over eight thousand
+francs, became the owner of a royal souvenir which must have cost five
+hundred times that sum.
+
+The eastern front of the Tuileries opened into a courtyard formed under
+the direction of the first Napoleon. It was separated from the Place du
+Carrousel by a handsome iron railing with gilt spear-heads extending the
+whole range of the palace. From this court there were three entrances
+into the Place du Carrousel, the central gate corresponding with the
+central pavilion of the palace, the other two having their piers
+surmounted by colossal figures of victory, peace, history and France. A
+gateway under each of the lateral galleries also communicated on the
+north with the Rue de Rivoli, and on the south with the Quai du Louvre.
+The Place du Carrousel was named in honour of a tournament held upon the
+spot by Louis XIV in 1662. It communicated on the north with the Rue
+Richelieu and the Rue de l'Echelle, and on the south with the Pont Royal
+and the Pont du Carrousel. To-day in the square stands the triumphal
+arch erected by Napoleon in 1806, after the designs of Percier and
+Fontaine.
+
+The newly laid-out and furbished-up gardens make the Place du Carrousel
+even more attractive than it was when set about with flagged areas,
+gravelled walks and paved road ways, and, while the monumental and
+architectural accessories excel the horticultural embellishments in
+quantity, the general effect is incomparably finer at present than
+anything known before.
+
+Plans for rebuilding the Place du Carrousel provide for a division into
+three distinct parts, three grand _pelouses_, _à boulingrins à la
+Français_, or lawns of a circumscribed area, according to the best
+traditions of Le Notre, a border of flowers and a few decoratively
+disposed clumps of flowering shrubs, the whole combined in such a way
+that the perspective and vista down the Champs Elysées will in no manner
+suffer. The architect-landscapist, M. Redon, who has been charged with
+the work, has drawn his inspiration from a series of unexecuted designs
+of Le Notre which have recently been brought to light from the innermost
+depths of the national archives. It was a safe way of avoiding an
+anachronism, and this time a government architect has chosen well his
+plan of execution.
+
+In later years the question of the reëmbellishment of the Garden of the
+Tuileries has ever been before the public, but little has actually been
+changed save the remaking of certain garden plots, the planting of a few
+shrubs or the placing of a few statues.
+
+The Garden of the Tuileries has a superficial area of 232,632 square
+metres. It is the most popular of all open spaces in the capital to the
+Parisian who would take his walks abroad not too far from the centre of
+things. The chief curiosity of the garden is the celebrated chestnut
+tree which burst into flower on the day of Napoleon's arrival from
+Elba--March 20. The precocious tree has ever been revered by the
+Bonapartists since, though the tree has never performed the trick the
+second time.
+
+Statues innumerable are scattered here and there through the garden and
+give a certain sense of liveliness to the area. Some are by famous
+names, others by those less renowned, but as a whole they make little
+impression on one, chiefly, perhaps, because one does not come to the
+Garden of the Tuileries to see statues.
+
+To the left and right are the terraces, first laid out by the celebrated
+Le Notre. Like the hanging gardens of Babylon, they overlook a lower
+level of _parterres_, gravelled walks and ornamental waters. Along the
+Rue de Rivoli is the Terrasse de l'Orangerie, and on the side of the
+river is the Terrasse de la Marine.
+
+According to the original plans of Le Notre the garden was set down as
+five hundred _toises_ in length, and one hundred and sixty-eight
+_toises_ in width, the latter dimension corresponding to that of the
+façade of the palace.
+
+Along the shady avenues of this admirable city garden of to-day an
+enterprising _concessionaire_ has won a fortune by renting out
+rush-bottomed chairs to nursemaids, retired old gentlemen with red
+ribbons in their buttonholes, and trippers from across the channel. It
+is a perfectly legitimate enterprise and a profitable one it would seem,
+and has been in operation considerably more than half a century.
+
+It was from the Gardens of the Tuileries in 1784 that took place
+Blanchard's celebrated ascension in Montgolfier's balloon and brought
+forth the encomium from the British Royal Society that the body was not
+in the least surprised that a Frenchman should have solved the problem
+of "volatability." The French monarch, more practical, was so mightily
+pleased with the success of the experiment that he bestowed upon the
+author the sum of four hundred thousand francs from his treasury to be
+used for the perfection of the art.
+
+
+
+
+CHAPTER VIII
+
+THE PALAIS CARDINAL AND THE PALAIS ROYAL
+
+
+With the Louvre and the Tuileries the Palais Royal shares the popular
+interest of the traveller among all the monuments of Paris. No other
+edifice evokes more vivid souvenirs of its historic past than this
+hybrid palace of Richelieu. One dreams even to-day, of its
+sumptuousness, its legends, its amusing and extravagant incidents which
+cast a halo of romantic interest over so many illustrious personages. So
+thoroughly Parisian is the Palais Royal in all things that it has been
+called "the Capital of Paris."
+
+Not far from the walled and turreted stronghold of the old Louvre rose
+the private palaces, only a little less royal, of the Rambouillets, the
+Mercoeurs and other nobles of the courtly train. They lived, too, in
+almost regal state until Armand du Plessis de Richelieu came to humble
+their pride, by fair means or foul, by buying up or destroying their
+sumptuous dwellings, levelling off a vast area of land, and, in 1629,
+commencing work on that imposing pile which was first known as the
+Palais Cardinal, later the Palais d'Orleans, then as the Palais de la
+Revolution and finally as the Palais Royal.
+
+It was near, yet far enough away from the royal residence of the Louvre
+not to be overshadowed by it. The edifice enclosed a great square of
+ground laid out with symmetrically planted trees and adorned with
+fountains and statues.
+
+From the great central square four smaller courts opened out to each of
+the principal points of the compass; there were also, besides the living
+rooms, a chapel, two theatres, ballrooms, boudoirs and picture
+galleries, all of a luxury never before dreamed of but by kings.
+
+The main entrance was in the Rue Saint Honoré, and over its portal were
+the graven arms of Richelieu, surmounted by the cardinal's hat and the
+inscription: "Palais Cardinal." Like his English compeer, Wolsey,
+Richelieu's ardour for building knew no restraint. He added block upon
+block of buildings and yard upon yard to garden walls until all was a
+veritable labyrinth. Finally the usually subservient Louis saw the
+condition of things; he liked it not that his minister should dwell in
+marble halls more gorgeous than his own. As a matter of policy the
+Cardinal ceased to build more and at his death, as if to atone, willed
+the entire property to his king.
+
+As the Palais Cardinal, the edifice was subjected to many impertinent
+railleries from the public which, as a whole, was ever antagonistic to
+the "_Homme Rouge_." They did not admit the right of an apostolic
+prelate of the church to lodge himself so luxuriously when the very
+precepts of his religion recommended modesty and humility. Richelieu's
+contemporaries did not hesitate to admire wonderingly all this luxury of
+life and its accessories, and Corneille, in the "_Menteur_" (1642),
+makes one of the principal characters say:
+
+   "Non, l'univers ne peut rien voir d'égal
+   Aux superbes dehors du Palais Cardinal;
+   Toute une ville entière avec pompe bâtie,
+   Semble d'un vieux fossé par miracle sortie,
+   Et nous fais présumer à ses superbes toits
+   Que tous ses habitants sont des dieux ou des rois."
+
+The ground plan of the Palais Cardinal was something unique among city
+palaces. In the beginning ground values were not what they are to-day in
+Paris. There were acres upon acres of greensward set about and cut up
+with gravelled walks, great alleyed rows of trees, groves without number
+and galleries and colonnades innumerable. Without roared the traffic of
+a great city, a less noisy traffic than that of to-day, perhaps, but
+still a contrasting maelstrom of bustle and furor as compared with the
+tranquillity within.
+
+After the edifice was finished it actually fell into disuse, except for
+the periodical intervals when the Cardinal visited the capital. At other
+times it was as quiet as a cemetery. Moss grew on the flags, grass on
+the gravelled walks and tangled shrubbery killed off the budding flowers
+of the gardens.
+
+Richelieu's last home-coming, after the execution of Cinq-Mars at Lyons,
+was a tragic one. The despot of France, once again under his own
+rooftree, threw himself upon his bed surrounded by his choicest pictures
+and tapestries, and paid the price of his merciless arrogance towards
+all men--and women--by folding his wan hands upon his breast and
+exclaiming, somewhat unconvincingly: "Thus do I give myself to God." As
+if recalling himself to the stern reality of things he added: "I have no
+enemies but those of State."
+
+In a robe of purple silk, supported by pillows of the finest down and
+covered with the rarest of laces, he rigidly straightened himself out
+and expired without a shudder, with the feeling that he was well beyond
+the reach of invisible foes. But before he died Richelieu received a
+visit from his king in person. This was another token of his invincible
+power.
+
+Thus the Palais Royal was evolved from the Palais Cardinal of Richelieu.
+Richelieu gave the orders for its construction to Jacques Lemercier
+immediately after he had dispossessed the Rambouillets and the
+Mercoeurs, intending at first to erect only a comparatively modest
+town dwelling with an ample garden. Vanity, or some other passion,
+finally caused to grow up the magnificently proportioned edifice which
+was called the Palais Cardinal instead of that which was to be known
+more modestly as the Hotel de Richelieu.
+
+Vast and imposing, but not without a certain graceful symmetry, the
+Palais Royal of to-day is a composition of many separate edifices
+divided by a series of courts and gardens and connected by arcaded
+galleries. The right wing enclosed an elaborate Salle de Spectacle while
+that to the left enclosed an equally imposing chamber with a ceiling by
+Philippe de Champaigne, known as the Galerie des Hommes Illustrés, and
+further ornamented with portraits of most of the court favourites of
+both sexes of the time. The architectural ornamentation of this gallery
+was of the Doric order, most daringly interspersed with moulded ships'
+prows, anchors, cables and what not of a marine significance.
+
+In 1636, divining the attitude of envy of many of the nobility who
+frequented his palace, Richelieu--great man of politics that he
+was--made a present of the entire lot of curios to Louis XIII, but
+undertaking to house them for him, which he did until his death in 1642.
+
+At the death of Louis XIII the Palais Cardinal, which had been left to
+him in its entirety by the will of Richelieu, came to Anne d'Autriche,
+the regent, who, with the infant Louis XIV and the royal family,
+installed herself therein, and from now on (October 7, 1642), the
+edifice became known as the Palais Royal.
+
+Now commenced the political rôle of this sumptuous palace which hitherto
+had been but the Cardinal's caprice. Mazarin had succeeded Richelieu,
+and to escape the anger of the Frondeurs, he, with the regent and the
+two princes, Louis XIV and the Duc d'Anjou, fled to the refuge of Saint
+Germain-en-Laye.
+
+In company with Mademoiselle de Montpensier, who had been rudely
+awakened from her slumbers in the Luxembourg, they took a coach in the
+dead of night for Saint Germain. It was a long and weary ride; the _Pavi
+du Roi_ was then, as now, the most execrable suburban highroad in
+existence.
+
+When calm was reëstablished Mazarin refused to allow the regent to take
+up her residence again in the old abode of Richelieu and turned it over
+to Henriette de France, the widow of Charles I, who had been banished
+from England by Cromwell.
+
+Thirty odd years later Louis XIV, when he was dreaming of his Versailles
+project, made a gift of the property to his nephew, Philippe d'Orleans,
+Duc de Chartres. Important reconstructions and rearrangements had been
+carried on from time to time, but nothing so radical as to change the
+specious aspect of the palace of the Cardinal's time, though it had been
+considerably enlarged by extending it rearward and annexing the Hotel
+Danville in the present Rue Richelieu. Mansart on one occasion was
+called in and built a new gallery that Coypel decorated with fourteen
+compositions after the Ænid of Virgil.
+
+Under the regency the Salon d'Entrée was redecorated by Oppenard, and a
+series of magnificent fêtes was organized by the pleasure-loving queen
+from the Austrian court. Richelieu's theatre was made into an
+opera-house, and masked balls of an unparalleled magnificence were
+frequently given, not forgetting to mention--without emphasis
+however--suppers of a Pantagruelian opulence and lavish orgies at which
+the chronicles only hint.
+
+In 1661, Monsieur, brother of the king, took up his official residence
+in the palace, enlarged it in various directions and in many ways
+transformed and improved it. Having become the sole proprietor of the
+edifice and its gardens, by Letters Patent of February, 1692, the Duc
+d'Orleans left this superb property, in 1701, to his son the too famous
+regent, Philippe d'Orleans, whose orgies and extravagances rendered the
+Palais Royal notorious to the utmost corners of Europe.
+
+The first years of the eighteenth century were indeed notorious. It was
+then that Palais Royal became the head-centre for debauch and abandon.
+It is from this epoch, too, that date the actual structures which to-day
+form this vast square of buildings, at all events their general outline
+is little changed to-day from what it was at that time.
+
+If the regent's policy was to carry the freedom and luxury of
+Richelieu's time to excess, replacing even the edifices of the Cardinal
+with more elaborate structures, his son Louis (1723-1752) sought in his
+turn to surround them with an atmosphere more austere.
+
+A disastrous fire in 1763 caused the Palais Royal to be rebuilt by order
+of Louis Philippe d'Orleans, the future Philippe-Egalité, by the
+architect Moreau, who carried out the old traditions as to form and
+outline, and considerably increased the extent and number of the arcades
+from one hundred and eighty to two hundred and seven. These the astute
+duke immediately rented out to shopkeepers at an annual rental of more
+than ten millions. This section was known characteristically enough as
+the Palais Marchand, and thus the garden came to be surrounded by a
+monumental and classic arcade of shops which has ever remained a
+distinct feature of the palace.
+
+A second fire burned out the National Opera, which now sought shelter in
+the Palais Royal, and in 1781 the Theatre des Varietés Amusantes was
+constructed, and which has since been made over into the home of the
+Comédie Française.
+
+The transformations imposed by Philippe-Egalité were considerable, and
+the famous chestnut trees, which had been planted within the courtyard
+in the seventeenth century by Richelieu, were cut down. He built also
+the three transverse galleries which have cut the gardens of to-day into
+much smaller plots than they were in Richelieu's time. In spite of this
+there is still that pleasurable tranquillity to be had therein to-day,
+scarcely a stone's throw from the rush and turmoil of the whirlpool of
+wheeled traffic which centres around the junction of the Rue Richelieu
+with the Avenue de l'Opera. It is as an oasis in a turbulent sandstorm,
+a beneficent shelf of rock in a whirlpool of rapids. The only thing to
+be feared therein is that a toy aeroplane of some child will put an eye
+out, or that the more devilish _diabolo_ will crack one's skull.
+
+Under the regency of the Duc Philippe d'Orleans the various apartments
+of the palace were the scenes of scandalous goings-on, which were
+related at great length in the chronicles of the time. It was a very
+mixed world which now frequented the _purlieus_ of the Palais Royal. Men
+and women about town jostled with men of affairs, financiers,
+speculators and agitators of all ranks and of questionable
+respectability. Milords, as strangers from across the Manche came first
+to be known here, delivered themselves to questionable society and still
+more questionable pleasures. It was at a little later period that the
+Duc de Chartres authorized the establishment of the cafés and
+restaurants which for a couple of generations became the most celebrated
+rendezvous in Paris--the Café de Foy, the Café de la Paix, the Café
+Carrazzo and various other places of reunion whose very names, to say
+nothing of the incidents connected therewith, have come down to history.
+
+It was the establishment of these public rendezvous which contributed
+so largely to the events which unrolled themselves in the Palais Royal
+in 1789. This "Eden de l'Enfer," as it was known, has in late years been
+entirely reconstructed; the old haunts of the Empire have gone and
+nothing has come to take their place.
+
+Then came another class of establishments which burned brilliantly in
+the second rank and were, in a way, political rendezvous also--the Café
+de Chartres and the Café de Valois. Of all these Palais Royal cafés of
+the early nineteenth century the most gorgeous and brilliant was the
+Café des Mille Colonnes, though its popularity was seemingly due to the
+charms of the _maitresse de la maison_, a Madame Romain, whose husband
+was a dried-up, dwarfed little man of no account whatever. Madame
+Romain, however, lived well up to her reputation as being
+"_incontestablement la plus jolie femme de Paris_." By 1824 the fame of
+the establishment had begun to wane and in 1826 it expired, though the
+"_Almanach des Gourmands_" of the latter year said that the proprietor
+was the Véry of _limonadiers_, that his ices were superb, his salons
+magnificent--and his prices exorbitant. Perhaps it was the latter that
+did it!
+
+Another establishment, founded in 1817, was domiciled here, the clients
+being served by "_odalisques en costume oriental, très seduisantes_."
+This is quoted from the advertisements of the day. The café was called
+the Café des Circassiennes, and there was a _sultane_, who was the
+presiding genius of the place. It met with but an indifferent success
+and soon closed its doors despite its supposedly all-compelling
+attractions.
+
+In the mid-nineteenth century a revolution came over the cafés of Paris.
+Tobacco had invaded their precincts; previously one smoked only in the
+_estaminets_. Three cafés of the Palais Royal resisted the innovation,
+the Café de la Galerie d'Orleans, the Café de Foy and the Café de la
+Rotonde. To-day, well, to-day things are different.
+
+The Theatre du Palais Royal of to-day was the Theatre des Marionettes of
+the Comte de Beaujolais, which had for contemporaries the Fantoches
+Italiens, the Ombres Chinoises and the Musée Curtius, perhaps the first
+of the wax-works shows that in later generations became so popular. The
+Palais Royal had now become a vast amusement enterprise, with side-shows
+of all sorts, theatres, concerts, cafés, restaurants, clubs,
+gambling-houses and what not--all paying rents, and high ones, to the
+proprietor.
+
+In the centre of the garden, where is now the fountain and its basin,
+was a circus, half underground and half above, and there were
+innumerable booths and kiosks for the sale of foolish trifles, all
+paying tribute to the ground landlord.
+
+Gaming at the Palais Royal was not wholly confined to the public
+gambling houses. During the carnival season of 1777 the gambling which
+went on in the royal apartments became notorious for even that
+profligate time: in one night the Duc de Chartres lost eight thousand
+_livres_. Louis XVI, honest man, took all due precautions to reduce this
+extravagance, but was impotent.
+
+Between the courtyard fountain and the northern arcade of the inner
+palace was placed the famous Cannon du Palais Royal, which, by an
+ingenious disposition, was fired each day at midday by the action of the
+sun's rays. All the world stood around awaiting the moment when watches
+might be regulated for another twenty-four hours.
+
+The celebrated Abbé Delille, to whom the beauties of the gardens were
+being shown, deplored the lack of good manners on the part of the
+habitués and delivered himself of the following appropriate quatrain:
+
+   "Dans ce jardin tout se rencontrée
+   Exceptê l'ombrage et les fleurs;
+   Si l'on y dêregle ses moeurs
+   Du moins on y règle sa montre."
+
+The Galerie de Bois was perhaps the most disreputable of all the palace
+confines. It was a long, double row of booths which only disappeared
+when Louis-Philippe built the glass-covered Galerie d'Orleans.
+
+Up to the eve of the Revolution the Palais Royal enjoyed the same
+privileges as the Temple and the Luxembourg, and became a sort of refuge
+whereby those who sought to escape from the police might lose themselves
+in the throng. The monarch himself was obliged to ask permission of the
+Duc d'Orleans that his officials might pursue their police methods
+within the outer walls.
+
+It was July 12, 1789. The evening before, Louis XVI had dismissed his
+minister, Neckar, but only on Sunday, the 12th, did the news get abroad.
+At the same time it was learned that the regiment known as the Royal
+Allemand, under the orders of the Prince de Lambesc, had charged the
+multitude gathered before the gates of the Tuileries. Cries of "A Mort!"
+"Aux Armes!" "Vengeance!" were hurled in air from all sides.
+
+At high noon in the gardens of the Palais Royal, on the 13th, as the
+midday sun was scorching the flagstones to a grilling temperature, the
+sound of a tiny cannon shot smote the still summer air with an echo
+which did not cease reverberating for months. The careless, unthinking
+promenaders suddenly grew grave, then violently agitated and finally
+raving, heedlessly mad. A young unknown limb of the law, Camille
+Desmoulins, rushed bareheaded and shrieking out of the Café de Foy,
+parted the crowd as a ship parts the waves, sprang upon a chair and
+harangued the multitude with such a vehemence and conviction that they
+were with him as one man.
+
+"Citizens," he said, "I come from Versailles * * * It only remains for
+us to choose our colours. _Quelle couleur voulez vous?_ Green, the
+colour of hope; or the blue of Cincinnati, the colour of American
+liberty and democracy."
+
+_"Nous avons assez déliberé!_ Deliberate further with our hands not our
+hearts! We are the party the most numerous: To arms!"
+
+On the morrow, the now famous 14th of July, the Frenchman's "glorious
+fourteenth," the people rose and the Bastille fell.
+
+Revolutionary decree, in 1793, converted the palace and its garden into
+the Palais et Jardin de la Révolution, and appropriated them as national
+property. Napoleon granted the palace to the Tribunal for its seat, and
+during the Hundred Days Lucien Bonaparte took up his residence there. In
+1830 Louis Philippe d'Orleans gave a great fête here in honour of the
+King of Naples who had come to the capital to pay his respects to the
+French king. Charles X, assisting at the ceremony as an invited guest,
+was also present and a month later came again to actually inhabit the
+palace and make it royal once more.
+
+[Illustration: The Galleries of the Palais-Royal under Napoleon First.]
+
+The table herewith showing the ramifications of the Bourbon Orleans
+family in modern times is interesting--all collateral branches of the
+genealogical tree sprouting from that of Louis Philippe. The heraldic
+embellishments of this family tree offer a particular interest in that
+the armorial blazonings are in accord with a decree of the French
+Tribunal, handed down a few years since, which establishes the right to
+the head of the house to bear the _écu plein de France--d'azur a trois
+fleurs de lys d'or_, thus establishing the Orleans legitimacy.
+
+[Illustration]
+
+The Republic of 1848 made the palace the headquarters of the Cour des
+Comptes and of the État Major of the National Guard. Under Napoleon III
+the Palais Royal became the dwelling of Prince Jerome, the uncle of the
+emperor. Later it served the same purpose for the son of Prince
+Napoleon. It was at this epoch that the desecration of scraping out the
+blazoned _lys_ and the chipping off the graven Bourbon _armoiries_ took
+place. Whenever one or the other hated Bourbon symbol was found, eagles,
+phoenix-like, sprang up in their place, only in their turn to
+disappear when the Republican device of '48 (now brought to light
+again), _Liberté, Egalité, Fraternité_--replaced them.
+
+During the Commune of 1870 a part of the left wing and the central
+pavilion suffered by fire, but restorations under the architect,
+Chabrol, brought them back again to much their original outlines.
+Through all its changes of tenure and political vicissitudes little
+transformation took place as to the ground plan, or sky-line silhouette,
+of the chameleon palace of cardinal, king and emperor, and while in no
+sense is it architecturally imposing or luxurious, it is now, as ever in
+the past, one of the most distinctive of Paris's public monuments.
+
+To-day the Palais Royal proper may be said to face on Place du Palais
+Royal, with its principal entrance at the end of a shallow courtyard
+separated from the street by an iron grille and flanked by two
+unimposing pavilions. The principal façade hides the lodging of the
+Conseil d'État and is composed of but the ground floor, a story above
+and an attic.
+
+The Aile Montpensier, which follows on from the edifice which houses the
+Comédie Française, was, until recently, occupied by the Cour des
+Comptes. The Aile de Valois fronts the street of that name, and here the
+Princes d'Orleans and King Jerome made their residence. To-day the same
+wing is devoted to the uses of the Under Secretary for the Beaux Arts.
+
+It is not necessary to insist on, nor reiterate, the decadence of the
+Palais Royal. It is no longer the "capitol of Paris," and whatever its
+charms may be they are mostly equivocal. It is more a desert than an
+oasis or a _temple de la volupté_, and it was each of these things in
+other days. Its priestesses and its gambling houses are gone, and who
+shall say this of itself is not a good thing in spite of the admitted
+void.
+
+The mediocrity of the Palais Royal is apparent to all who have the
+slightest acquaintance with the architectural orders, but for all that
+its transition from the Palais du Cardinal, Palais Egalité, Palais de
+la Revolution and Palais du Tribunat to the Palais Royal lends to it an
+interest that many more gloriously artistic Paris edifices quite lack.
+
+There is a movement on foot to-day to resurrect the Palais Royal to some
+approach to its former distinction, which is decidedly what it has not
+been for the past quarter of a century. Satirical persons have demanded
+as to what should be made of it, a _vélodrome_ or a skating-rink, but
+this is apart from a real consideration of the question for certain it
+is that much of its former charm can be restored to it without turning
+it into a Luna Park. It is one of the too few Paris breathing-spots, and
+as such should be made more attractive than it is at the present time.
+
+It was sixty years ago, when Louis Philippe was the legitimate owner of
+the Palais Royal, its galleries, its shops, its theatre and its gardens,
+that it came to its first debasement. "One went there on tip-toe, and
+spoke in a whisper," said a writer of the time, and one does not need to
+be particularly astute to see the significance of the remark.
+
+It was Alphonse Karr, the _écrivain-jardinier_, who set the new vogue
+for the Palais Royal, but his interest and enthusiasm was not enough to
+resurrect it, and so in later years it has sunk lower and lower. The
+solitude of the Palais Royal has become a mockery and a solecism. It is
+virtually a _campo santo_, or could readily be made one, and this in
+spite of the fact that it occupies one of the busiest and noisiest
+quarters of the capital, a quadrangle bounded by the Rues Valois,
+Beaujolais, Montpensier and the Place du Palais Royal.
+
+The moment one enters its portal the simile accentuates and the hybrid
+shops which sell such equivocal bric-a-brac to clients of no taste and
+worse affectations carry out the idea of a cloister still further, for
+actually the clients are few, and those mostly strangers. One holds his
+breath and ambles through the corridors glad enough to escape the bustle
+of the narrow streets which surround it, but, on the other hand, glad
+enough to get out into the open again.
+
+
+
+
+CHAPTER IX
+
+THE LUXEMBOURG, THE ELYSÉE AND THE PALAIS BOURBON
+
+
+The kings and queens of France were not only rulers of the nation, but
+they dominated the life of the capital as well. Upon their crowning or
+entry into Paris it was the custom to command a gift by right from the
+inhabitants. In 1389 Isabeau de Bavière, of dire memory, got sixty
+thousand _couronnes d'or_, and in 1501, and again in 1504, was presented
+with six thousand and ten thousand _livres parisis_ respectively.
+
+The king levied personal taxes on the inhabitants, who were thus forced
+to pay for the privilege of having him live among them, those of the
+professions and craftsmen, who might from time to time serve the royal
+household, paying the highest fees.
+
+It was during the period of Richelieu's ministry that Paris flowered the
+most profusely. The constructions of this epoch were so numerous and
+imposing that Corneille in his comedy "Le Menteur," first produced in
+1642, made his characters speak thus:
+
+   Dorante: Paris semble à mes yeux un pays de roman
+          *       *       *
+   En superbes palais a changé ses buissons
+          *       *       *
+   Aux superbes dehors du palais Cardinal
+   Tout la ville entière, avec pomp bâtie
+          *       *       *
+
+In 1701, Louis XIV divided the capital into twenty _quartiers_, or
+wards, and in 1726-1728 Louis XV built a new city wall; but it was only
+with Louis XVI that the faubourgs were at last brought within the city
+limits. Under the Empire and the Restoration but few changes were made,
+and with the piercing of the new boulevards under Napoleon III and Baron
+Haussmann the city came to be of much the same general plan that it is
+to-day.
+
+In the olden time, between the Palais de la Cité and the Louvre and the
+Palais des Tournelles, extending even to the walls of Charenton, was a
+gigantic garden, a carpet embroidered with as varied a colouring as the
+_tapis d'orient_ of the poets, and cut here and there by alleys which
+separated it into little checker-board squares.
+
+Within this maze was the celebrated Jardin Dedalus that Louis XI gave to
+Coictier, and above it rose the observatory of the savant like a signal
+tower of the Romans. This centered upon what is now the Place des
+Vosges, formerly the Place Royale.
+
+To-day, how changed is all this "intermediate, indeterminate" region!
+How changed, indeed! There is nothing vague and indeterminate about it
+to-day.
+
+The earliest of the little known Paris palaces was the Palais des
+Thermes. It may be dismissed almost in a word from any consideration of
+the royal dwellings of Paris, though it was the residence of several
+Roman emperors and two queens of France. A single apartment of the old
+palace of the Romans exists to-day--the old Roman Baths--but nothing of
+the days of the Emperor Constantius Chlorus, who founded the palace in
+honour of Julian who was proclaimed Emperor by his soldiers in 360 A.D.
+The Frankish monarchs, if they ever resided here at all, soon
+transferred their headquarters to the Palais de la Cité, the ruins
+falling into the possession of the monks of Cluny, who built the present
+Hotel de Cluny on the site.
+
+Of all the minor French palaces the Luxembourg and the Elysée are the
+most often heard of in connection with the life of modern times. The
+first is something a good deal more than an art museum, and the latter
+more than the residence for the Republican president, though the
+guide-book makers hardly think it worth while to write down the facts.
+
+The Palais du Luxembourg has been called an imitation of the Pitti
+Palace at Florence, but, beyond the fact that it was an Italian
+conception of Marie de Médici's, it is difficult to follow the
+suggestion, as the architect, Jacques Debrosse, one of the ablest of
+Frenchmen in his line, simply carried out the work on the general plan
+of the time of its building, the early seventeenth century.
+
+Its three not very extensive pavilions are joined together by a
+colonnade which encloses a rather foreboding flagged courtyard, a
+conception, or elaboration, of the original edifice by Chalgrin, in
+1804, under the orders of Napoleon. The garden front, though a
+restoration of Louis Philippe, is more in keeping with the original
+Médici plan; that, at any rate, is to its credit.
+
+To-day the Luxembourg, the Republican Palais du Sénat, is but an echo of
+the four centuries of aristocratic existence which upheld the name and
+fame of its first proprietor, the Duc de Piney-Luxembourg, Prince de
+Tigry, who built it in the sixteenth century. From 1733 to 1736 the
+palace underwent important restorations and the last persons to inhabit
+it before the Revolution were the Duchesse de Brunswick, the Queen
+Dowager of Spain and the Comte de Provence, brother of Louis XVI, to
+whom it had been given by Letters Patent in 1779.
+
+[Illustration: _Palais du Luxembourg_]
+
+In 1791 the Convention thought so little of it that they made it a
+prison, and a few years later it was called again the Palais du
+Directoire, and, before the end of the century, the Palais du Consulat.
+This was but a brief glory, as Napoleon transferred his residence in
+accordance with his augmenting ambitions, to the Tuileries in the
+following year.
+
+By 1870 the edifice had become known as the Palais du Sénat, then as the
+headquarters of the Préfecture of the Seine, and finally, as to-day, the
+Palais du Luxembourg, the seat of the French Senate and the residence of
+the president of that body.
+
+The principal public apartments are the Library, the "Salle des
+Séances," the "Buvette"--formerly Napoleon's "Cabinet de Travail," the
+"Salle des Pas Perdus"--formerly the "Salle du Trone," the Grand Gallery
+and the apartments of Marie de Médici. The chapel is modern and dates
+only from 1844.
+
+The Palais du Petit Luxembourg is the official residence of the
+president of the Senate and dates also from the time of Marie de Médici.
+The picture gallery is housed in a modern structure to the west of the
+Petit Luxembourg.
+
+[Illustration]
+
+The façade of the Palais du Sénat is not altogether lovely and has
+little suggestion of the daintiness of the Petit Luxembourg, but,
+for all that, it presents a certain dignified pose and the edifice
+serves its purpose well as the legislative hall of the upper house.
+
+[Illustration: _The Petit Luxembourg_]
+
+The gardens of the Luxembourg form another of those favourite Paris
+playgrounds for nursemaids and their charges. It is claimed that the
+children are all little Legitimists in the Luxembourg gardens, whereas
+they are all Red Republicans at the Tuileries. One has no means of
+knowing this with certainty, but it is assumed; at any rate the
+Legitimists are a very numerous class in the neighbourhood. Another
+class of childhood to be seen here is that composed of the offsprings of
+artists and professors of the Latin quarter, and of the active tradesmen
+of the neighbourhood. They come here, like the others, for the fresh
+air, to see a bit of greenery, to hear the band play, to sail their
+boats in the basins of the great fountain and enjoy themselves
+generally.
+
+One notes a distinct difference in the dress and manners of the children
+of the gardens of the Luxembourg from those of the Tuileries and wonders
+if the breach will be widened further as they grow up.
+
+The Jardin du Luxembourg is all that a great city garden should be,
+ample, commodious, decorative and as thoroughly typical of Paris as the
+Pont Neuf. Innumerable, but rather mediocre, statues are posed here and
+there between the palace and the observatory at the end of the long,
+tree-lined avenue which stretches off to the south, the only really
+historical monument of this nature being the celebrated Fontaine de
+Médicis by Debrosse, the architect of the palace. It was a memorial to
+Marie de Médici.
+
+While one is in this quarter of Paris he has an opportunity to recall a
+royal memory now somewhat dimmed by time, but still in evidence if one
+would delve deep.
+
+As a matter of fact, royalty never had much to do with this hybrid
+quarter of Paris, though, indeed, its past was romantic enough,
+bordering as it does upon the real Latin Quarter of the students.
+Bounded on one side by the immense domain of the Luxembourg, it
+stretched away indefinitely beyond Vaugiraud, almost to Clamart and
+Sceaux.
+
+[Illustration: _The Luxembourg Gardens_]
+
+At No. 27 Boulevard Montparnasse is an elaborate seventeenth house-front
+half hidden by the "modern style" flats of twentieth century Paris. This
+relic of the _grand siècle_, with its profusion of sculptured details,
+was the house bought by Louis XIV about 1672 and given to the "widow
+Scarron," the "young and beautiful widow of the court," as a
+recompense for the devotion with which she had educated the three
+children of the Marquise de Montespan, who, in 1673, were legitimatized
+as princes of the royal house--the Duc de Maine, the Comte de Vexin and
+Mademoiselle de Mantes.
+
+Madame Scarron, who became in time Madame de Maintenon, the "_vraie
+reine du roi_," died in 1719, and the house passed to La Tour
+d'Auvergne.
+
+On this same side of the river are the Palais de l'Institut and the
+Palais Bourbon. The Palais de l'Institut, or Palais Mazarin, is hardly
+to be considered one of the domestic establishments, the dwellings of
+kings, with which contemporary Paris was graced. It was but a creation
+of Mazarin, the minister, on the site of the Hôtel de Nesle, and was
+first known as the Palais des Quatre Nations, where were educated, at
+the expense of the Cardinal, sixty young men of various nationalities.
+
+The old chapel has since been transformed into the "Salle des Séances"
+of the Institut de France, the Five French Academies. The black, gloomy
+façade of the edifice, to-day, in spite of the cupola which gives a
+certain inspiring dignity, is not lovely, and tradition and sentiment
+alone give it its present interest, though it is undeniably
+picturesque.
+
+An inscription used to be on the pedestal of one of the fountains
+opposite the entrance which read:
+
+   "Superbe habitant du desert
+   En ce lieu, dis moi, que fais tu
+   --Tu le vois à mon habit vert
+   Je suis membre de l'institut."
+
+If the inscription were still there it would save the asking of a lot of
+silly questions by strangers who pass this way for the first time. The
+Palais de l'Institut is one of the sights of Paris, and its functions
+are notable, though hardly belonging to the romantic school of past
+days, for at present poets often make their entrée via Montmartre's
+"Chat Noir," or are elected simply because some other candidate has been
+"_blackbouled_."
+
+Still following along the left bank of the Seine one comes to the Palais
+Bourbon, the Chambre des Deputés, as it is better known. This edifice,
+where now sit the French deputies, was built by Girardini for the
+Dowager Duchesse de Bourbon in 1722, and, though much changed during
+various successive eras, is still a unique variety of architectural
+embellishment which is not uncouth, nor yet wholly appealing. Napoleon
+remade the heavily imposing façade, so familiar to all who cross the
+river by the Pont de la Concorde, but its grimness is its charm rather
+than its grace.
+
+The structure cost its first proprietor twenty million or more francs,
+and since it has become national property the outlay has been constant.
+Everything considered it makes a poor showing; but its pseudo-Greek
+façade, were it removed, would certainly be missed in this section of
+Paris.
+
+The principal apartments are the "Salle des Pas Perdus," the "Salle des
+Séances," and the "Salle des Conferences"--where, in 1830, the Duc
+d'Orleans took the oath as king of France.
+
+A recent discovery has been made in the lumber room of this old Palais
+Bourbon, where deputies howl and shout and make laws as noisily as in
+any other of the world's parliaments.
+
+[Illustration: The THRONE of the PALAIS-BOURBON]
+
+This particular "find" was the throne constructed in 1816 for Louis
+XVIII, with its upholstering of velvet embroidered with the golden
+fleur-de-lis. The records tell that this throne also served Louis
+Philippe under the Second Empire, and also was used under the Monarchy
+of July. It was after the momentous "Quatre Setembre" that it was
+finally relegated to the garret, but now, as a historical souvenir of
+the first rank, it has been placed prominently where all who visit the
+Palais Bourbon may see it.
+
+The history of the Palais de l'Elysée has not been particularly vivid,
+though for two centuries it has played a most important part in the life
+of the capital. In later years it has served well enough the
+presidential dignity of the chief magistrate of the French Republic and
+is thus classed as a national property. Actually, since its
+construction, it has changed its name as often as it has changed its
+occupants. Its first occupant was its builder, Louis d'Auvergne, Comte
+d'Evreux, who built himself this great town house on a plot of land
+which had been given him by Louis XV. Apparently the young man had no
+means of his own for the construction of his luxurious city dwelling,
+for he refilled his coffers by marriage with the rich daughter of the
+financier Crozat.
+
+The new-made countess's mother-in-law apparently never had much respect
+for her son's choice as she forever referred to her as "the little gold
+ingot."
+
+"The ingot" served to construct the palace, however, though at the death
+of its builder, soon after, it came into the proprietorship of La
+Pompadour, who spent the sum of six hundred and fifty thousand _livres_
+in aggrandizing it. It became her town house, whither she removed when
+she grew tired of Versailles or Bagatelle.
+
+History tells of an incident in connection with a fête given at the
+Palais de l'Elysée by La Pompadour. It was at the epoch of the
+"_bergeries à la Watteau_." The blond Pompadour had the idea of
+introducing into the salons a troop of living, sad-eyed sheep, combed
+and curled like the poodles in the carriages of the fashionables in the
+Bois to-day. The quadrupeds, greatly frightened by the flood of light,
+fell into a panic, and the largest ram among them, seeing his duplicate
+in a mirror, made for it in the traditional ram-like manner. He raged
+for an hour or more from one apartment to another, followed by the whole
+flock, which committed incalculable damage before it could be turned
+into the gardens. Such was one of the costly caprices of La Pompadour.
+She had many.
+
+La Pompadour's brother, the Marquis de Menars et de Marigny, continued
+the work of embellishment of the property up to the day when Louis XV
+bought it as a dwelling for the ambassadors to his court. Its somewhat
+restricted park, ornamented with a grotto and a cascade, was at this
+time one of the curiosities of the capital.
+
+In 1773, the financier Beaujon bought the property from the king and
+added considerably to it under the direction of the architect Boullée,
+who also re-designed the gardens. Thanks to Beaujon, the wonderful
+Gobelins of to-day were hung upon the walls, and many paintings by
+Rubens, Poissin, Van Loo, Von Ostade, Murillo, Paul Potter and Joseph
+Vernet were added.
+
+The death of the financier brought the property into the hands of the
+Duchesse de Bourbon, the sister of Louis Philippe, and the mother of the
+Duc d' Enghien, who died so tragically at Vincennes a short time after.
+The duchess renamed her new possession Elysée-Bourbon and there led a
+very retired and sad life among surroundings so splendid that they
+merited a more gay existence.
+
+At the Revolution the palace became a national property, and, under the
+Consulate, was the scene of many popular fêtes, it having been rented to
+a concern which arranged balls and other entertainments for the pleasure
+of all who could afford to pay. Its name was now the Hameau de
+Chantilly, and, considering that the entrance tickets cost but fifteen
+sous--including a drink--it must have proved a cheap, satisfying and
+splendid amusement for the people.
+
+This state of affairs lasted until 1805, when Murat bought it and here
+held his little court up to his departure for Naples, when, in
+gratefulness for past favours, he gave it to Napoleon. The emperor
+greatly loved this new abode, which he rechristened the Elysée-Napoleon.
+
+After his defeat at Waterloo Napoleon, limping lamely Parisward, down
+through the Forests of Compiègne and Villers-Cotterets, sought in the
+Elysée-Napoleon the repose and rest which he so much needed, the throng
+meanwhile promenading before the palace windows, shouting at the tops of
+their voices "Vive l'Empereur!" though, as the world well knew, his
+power had waned forever; the eagle's wings were broken. The throng still
+crowded the precincts of the palace, but the emperor fled secretly by
+the garden gate.
+
+On the return of the Duchesse de Bourbon from Spain the magnificent
+structure became again the Elysée-Bourbon. The duchess ceded the palace
+to the Duc and Duchesse de Berry but, at the duke's death, in 1820, his
+widow abandoned it.
+
+Some time after it was occupied by the Duc de Bordeaux, and, in 1830,
+it became one of the long list of establishments whose maintenance
+devolved upon the Civil List, though it remained practically uninhabited
+all through the reign of Louis Philippe.
+
+In 1848, the National Assembly designated the palace as the official
+residence for the presidents of the French Republic. Three years after,
+on the night of the first of December, as the last preparations were
+being made by Louis Bonaparte for the Coup d' État and the final
+strangling of the young republic, the residence of the president was
+transferred to the Tuileries, and the palace of the Faubourg Saint
+Honoré was again left without a tenant, and served only to give
+hospitality from time to time to passing notables.
+
+After the burning of the Tuileries, and the coming of the Third
+Republic, the Elysée Palace again became the presidential residence, and
+so it remains to-day.
+
+One of the most notable of modern events connected with the Elysée
+Palace was the _diner de ceremonie_ offered by the president of the
+Republic and Madame Fallières to Mr. and Mrs. Roosevelt in April, 1910.
+The dinner was served in the "Grand Salle des Fêtes" and the music which
+accompanied the repast was furnished by the band of the _Garde
+Republicain_, beginning with the national anthem of America and
+finishing with that of France. Never had a private citizen, a foreigner,
+been so received by the first magistrate of France. The toast of
+President Fallières was as follows: "Before this repast terminates I
+wish to profit by the occasion offered to drink the health of Monsieur
+Theodore Roosevelt, an illustrious man, a great citizen and a good
+friend of France and the cause of peace. I raise my glass to Madame
+Roosevelt who may be assured of our respectful and sympathetic homage,
+and I am very glad to be able to say to our guests that we count
+ourselves very fortunate in being allowed to meet them in person and
+show them this mark of respect."
+
+
+
+
+CHAPTER X
+
+VINCENNES AND CONFLANS
+
+[Illustration: VINCENNES UNDER CHARLES V]
+
+
+Vincennes is to-day little more than a dull, dirty Paris suburb; if
+anything its complexion is a deeper drab than that of Saint Denis, and
+to call the Bois de Vincennes a park "somewhat resembling the Bois de
+Boulogne," as do the guidebooks, is ridiculous.
+
+In reality Vincennes is nothing at all except a memory. There is to-day
+little suggestion of royal origin about the smug and murky surroundings
+of the Chateau de Vincennes; but nevertheless, it once was a royal
+residence, and the drama which unrolled itself within its walls was most
+vividly presented. A book might be written upon it, with the following
+as the chapter headings: "The Royal Residence," "The Minimes of the
+Bois de Vincennes," "Mazarin at Vincennes," "The Prisoners of the
+Donjon," "The Fêtes of the Revolution," "The Death of the Duc
+d'Enghien," "The Transformation of the Chateau and the Bois."
+
+Its plots are ready-made, but one has to take them on hearsay, for the
+old chateau does not open its doors readily to the stranger for the
+reason that it to-day ranks only as a military fortress, and an
+artillery camp is laid out in the quadrangle, intended, if need be, to
+aid in the defence of Paris. This is one of the things one hears about,
+but of which one may not have any personal knowledge.
+
+The first reference to the name of Vincennes is in a ninth century
+charter, where it appears as _Vilcenna_. The foundation of the original
+chateau-fort on the present site is attributed to Louis VII, who, in
+1164, having alienated a part of the neighbouring forest in favour of a
+body of monks, built himself a suburban rest-house under shelter of the
+pious walls of their convent.
+
+Philippe Auguste, too, has been credited with being the founder of
+Vincennes; but, at all events, the chateau took on no royal importance
+until the reign of Saint Louis, who acquired the habit of dispensing
+justice to all comers seated beneath an oak in the near-by Forest of
+Joinville.
+
+The erection of the later chateau was begun by Charles, Comte de Valois,
+brother of Philippe-le-Bel; and it was completed by Philippe VI of
+Valois, and his successor, Jean-le-Bon, between the years 1337 and 1370,
+when it became an entirely new manner of edifice from what it had been
+before. It was in this chateau that was born Charles V, to whom indeed
+it owes its completion in the form best known.
+
+To-day, the outlines of the mass of the Chateau de Vincennes are
+considerably abbreviated from their former state. Originally it was
+quite regular in outline, its walls forming a rectangle flanked by nine
+towers, the great donjon which one sees to-day occupying the centre of
+one side. The chapel was begun in the reign of François I and terminated
+in that of Henri II. Its coloured glass, painted by Jean Cousin from the
+designs of Raphael, is notable.
+
+The chapel at Vincennes, with the Saint Chapelle of the Palais de
+Justice at Paris, ranks as one of the most exquisite examples extant of
+French Gothic architecture. It was begun in 1379, but chiefly it is of
+the sixteenth century, since it was only completed in 1552. This chapel
+of the sixteenth century, and the two side wings flanking the tower of
+the reign of Louis XIV, make the Chateau de Vincennes a most precious
+specimen of mediæval ecclesiastical and military architecture. If
+Napoleon had not cut down the height of the surrounding walls the
+comparison would be still more favourable. In the reproduction of the
+miniature from the Book of Hours of the Duc de Berry given herein one
+sees the perfect outlines of the fourteenth century edifice.
+
+In later years, Louis XIII added considerably to the existing structure,
+but little is now to be seen of that edifice save the great tower and
+the chapel.
+
+Charles IX, whose royal edict brought forth the bloody night of Saint
+Bartholomew in 1572, fell sick two years later in the Chateau de
+Vincennes. Calling his surgeon, Ambroise Paré, to his side he exclaimed:
+"My body burns with fever; I see the mangled Huguenots all about me;
+Holy Virgin, how they mock me; I wish, Paré, I had spared them." And
+thus he died, abhorring the mother who had counselled him to commit this
+horrible deed.
+
+The donjon of Vincennes was carried to its comparatively great height
+that it might serve as a tower of observation as well as a place of last
+retreat if in an attack the outer walls of the fortress should give way.
+Here at Vincennes a certain massiveness is noted in connection with the
+donjon, though the actual ground area which it covers is not very
+great; it was not like many donjons of the time, which were virtually
+smaller chateaux or fortresses enclosed within a greater.
+
+Vincennes, in comparison with many other contemporary edifices,
+possessed a certain regularity of outline which was made possible by its
+favourable situation. When others were of fantastic form, they were
+usually so built because of the configuration of the land, or the nature
+of the soil. But here the land was flat, and, though the edifice and its
+dependencies covered no very extended area, they followed rectangular
+lines with absolute precision.
+
+As its walls were of a thickness of three metres, it was a work easy of
+accomplishment for Louis XI to turn the chateau into a Prison of State,
+a use to which the first chateau had actually been put by the shutting
+up in it of Enguerrand de Marigny. Henri IV, in 1574, passed some
+solitary hours and days within its walls, and Mirabeau did the same in
+1777. The Duc d'Enghien, under the First Empire, before his actual death
+by shooting, suffered sorely herein, while resting under an unjust
+suspicion.
+
+[Illustration: _Chateau de Vincennes_]
+
+In 1814-1815 the chateau became a great arsenal and general storehouse
+for the army. It was attacked by the Allies and besieged twice, but in
+vain. It was defended against the armies of Blucher by the Baron
+Daumesnil. Summoned to surrender his charge, "Jambe de Bois" (so called
+because he had lost a leg the year before) replied: "I will surrender
+when you surrender to me my leg." A statue to this brave warrior is
+within the chateau, and commemorates further the fact that he
+capitulated only on terms laid down by himself out of his humane regard
+for the lives of friends and foes.
+
+The ministers of Charles X, in 1830, had cause to regret the strength of
+the chateau walls; and Barbés, Blanqui and Raspail, in 1848, and various
+Republicans, who had been seized as dangerous elements of society after
+the Coup d'État of 1851, also here found an enforced hospitality. The
+Chateau de Vincennes had become a second Bastille.
+
+The incident of the arrest and death of the Duc d'Enghien is one of the
+most dramatic in Napoleonic history. The scene was Vincennes. Louis
+Antoine Henri de Bourbon, son of the Prince de Condé, born at Chantilly
+in 1772, became, without just reason, suspected in connection with the
+Cadoudal-Pichegreu plot, and was seized by a squadron of cavalry at the
+Schloss Ettenheim in the Duchy of Baden and conducted to Vincennes.
+Here, after a summary judgment, he was shot at night in the moat behind
+the guardhouse. The obscurity of the night was so great that a lighted
+lantern was hung around the neck of the unfortunate man that the
+soldiers might the better see the mark at which they were to shoot.
+
+Napoleon confided to Josephine, who repeated the secret to Madame de
+Remusat, that his political future demanded a _coup d'État_. On the
+morning of the execution, the emperor, awakening at five o'clock, said
+to Josephine: "By this time the Duc d'Enghien has passed from this
+life."
+
+The rest is history--of that apologetic kind which is not often
+recorded.
+
+In the chapel at Vincennes a commemorative tablet was placed, by the
+orders of Louis XVIII, in 1816, to mark the death of the young duke.
+
+The Bois de Vincennes is not the fashionable parade ground of the Bois
+de Boulogne. On the whole it is a sad sort of a public park, and not at
+all fashionable, and not particularly attractive, though of a vast
+extent and possessed of a profoundly historic past of far more
+significance than that of its sweet sister by the opposite gates of
+Paris.
+
+[Illustration: _A Hunt under the Walls of Vincennes_
+
+_From a Fourteenth Century Print_]
+
+It contains ten hundred and sixty-nine hectares and was due originally
+to Louis XV, who sought to have a sylvan gateway to the city from the
+east. Under the Second Empire the park was considerably transformed, new
+roads and alleys traced, and an effort made to have it equal more
+nearly the beauty of the more popular Bois de Boulogne. It occupies the
+plateau lying between the Seine and the bend in the Marne, just above
+the junction of the two rivers.
+
+There are some forty kilometres of roadway within the limits of the Bois
+de Vincennes, and a dozen kilometres or more of footpaths; but, since
+the military authorities have taken a portion for their own uses as a
+training ground, a shooting range and for the Batteries of La
+Faisanderie and Gravelle, it has been bereft of no small part of its
+former charm. There are three lakes in the Bois, the Lac de Sainte
+Mandé, the Lac Daumesnil and the Lac de Gravelle.
+
+A near neighbour of Vincennes is Conflans, another poor, rent relic of
+monarchial majesty. The Chateau de Conflans was situated at the juncture
+of the Seine and Marne, but, to-day, the immediate neighbourhood is so
+very unlovely and depressing that one can hardly believe that it ever
+pleased any one's fancy, least of all that of a kingly castle builder.
+
+Banal dwellings on all sides are Conflans' chief characteristics to-day;
+but the old royal abode still lifts a long length of roof and wall to
+mark the spot where once stood the Chateau de Conflans in all its
+glory.
+
+Conflans was at first the country residence of the Archbishops of Paris,
+and Saint Louis frequently went into retreat here. When Philippe-le-Bel
+acquired the property, he promptly gave it to the Comtesse d'Artois who
+made of it one of the "_plus beaux castels du temps_." She decorated its
+long gallery, the portion of the edifice which exists to-day in the
+humble, emasculated form of a warehouse of some sort, in memory of her
+husband Othon. Here the countess held many historic receptions and
+ceremonies during which kings and princes frequently partook of her
+hospitality.
+
+[Illustration: CONFLANS from an OLD PRINT.]
+
+After the death of the countess, the French king made his residence at
+Conflans, and Charles VI, when dauphin, was also lodged here that he
+might be near the capital in case of events which might require his
+presence. A contemporary account mentions the fact that his _valet de
+chambre_ was killed by lightning at Conflans while serving his royal
+master.
+
+Conflans was the preferred suburban residence of the Princes and the
+Ducs de Bourgogne, and Philippe-le-Hardi there organized his tourneys
+and his _passes d'armes_ with great éclat, on one occasion alone
+offering one hundred and fifteen thousand _livres_ in prizes to the
+participants.
+
+This castle, for it was more castle than palace, was reputed one of the
+most magnificent in the neighbourhood of the Paris of its time,
+surrounded as it was with a resplendent garden and a forest in
+miniature, really a part of the Bois de Vincennes of to-day, where
+roamed wild boar and wolves which furnished sport of a kingly kind.
+
+The view from the terrace of the chateau must have been wonderfully
+fine, the towers and roof-tops of old Paris being silhouetted against
+the setting sun, its windows dominating the swift-flowing current of the
+two rivers at the foot of the fortress walls.
+
+The greatest event of history enacted under the walls of Conflans was
+the battle and the treaty which followed after, between Louis XI and the
+Comte de Charolais, in 1405.
+
+Commynes recounts the battle as follows: "Four thousand archers were
+sent out from Paris by the king, who fired upon the castle from the
+river bank on both sides."
+
+Bows and arrows were hardly effective weapons with which to shoot down
+castle walls, but stragglers who left themselves unprotected were from
+time to time picked off on both sides and much carnage actually ensued.
+Finally a treaty of peace was arranged, by which, at the death of
+Charles-le-Téméraire, according to usage, Louis XI absorbed the
+proprietary rights in the castle and made it a _Maison Royale_,
+bestowing it upon one of his favourites, Dame Gillette Hennequin.
+
+The kings of France about this time developed a predilection for the
+chateaux on the banks of the Loire, and Conflans was offered for sale in
+1554. Divers personages occupied it from that time on, the Maréchal de
+Villeroy, the Connetable de Montmorency and, for a brief time, Cardinal
+Richelieu.
+
+It was in the Chateau de Conflans that was planned the foundation of the
+French Academy; here Molière and his players first presented "La
+Critique de l'Ecole des Femmes"; and here, also, was held the marriage
+of La Grande Mademoiselle with the unhappy Lauzan.
+
+At the end of the reign of Louis XIV Fr. de Harlay-Chauvallon,
+Archbishop of Paris, bought the property of Richelieu, and, with the
+aid of Mansart and Le Notre, considerably embellished it within and
+without. Madame de Sévigné, in one of her many published letters, writes
+of the splendours which she saw at Conflans at this epoch.
+
+Saint-Simon, the court chronicler, mentions that the gardens were so
+immaculately kept that when the Archbishop and "La Belle" Duchesse de
+Lesdiguières used to promenade therein they were followed by a gardener
+who, with a rake, sought to remove the traces of each footprint as soon
+as made.
+
+Later, the Cardinal de Beaumont, the persecutor of the Jansenists,
+resided here.
+
+   "Notre archeveque est à Conflans
+      C'est un grand solitaire
+         C'est un grand so
+         C'est un grand so
+       C'est un grand solitaire."
+
+The above verse is certainly banal enough, but the cardinal himself was
+a _drôle_, so perhaps it is appropriate. At any rate it is contemporary
+with the churchman's sojourn at Conflans.
+
+
+
+
+CHAPTER XI
+
+FONTAINEBLEAU AND ITS FOREST
+
+[Illustration: ORIGINAL PLAN OF FONTAINEBLEAU]
+
+
+Of all the French royal palaces Fontainebleau is certainly the most
+interesting, despite the popularity and accessibility of Versailles. It
+is moreover the cradle of the French Renaissance. Napoleon called it the
+Maison des Siècles, and the simile was just.
+
+After Versailles, Fontainebleau has ever held the first place among the
+suburban royal palaces. The celebrated "Route de Fontainebleau" of
+history was as much a _Chemin du Roi_ as that which led from the capital
+to Versailles. Versailles was gorgeous, even splendid, if you will;
+but it had not the unique characteristics, nor winsomeness of
+Fontainebleau, nor ever will have, in the minds of those who know and
+love the France of monarchial days.
+
+[Illustration: From Paris to Fontainebleau]
+
+Not the least of the charm of Fontainebleau is the neighbouring forest
+so close at hand, a few garden railings, not more, separating the palace
+from one of the wildest forest tracts of modern France.
+
+The Forest of Fontainebleau is full of memories of royal rendezvous, the
+carnage of wild beasts, the "_vraie image de la guerre_," of which the
+Renaissance kings were so inordinately fond.
+
+It was from the Palace of Fontainebleau, too, that bloomed forth the
+best and most wholesome of the French Renaissance architecture. It was
+the model of all other later residences of its kind. It took the best
+that Italy had to offer and developed something so very French that even
+the Italian workmen, under the orders of François I, all but lost their
+nationality. Vasari said of it that it "rivalled the best work to be
+found in the Rome of its time."
+
+A charter of Louis-le-Jeune (Louis VII), dated at Fontainebleau in 1169,
+attests that the spot was already occupied by a _maison royale_ which,
+according to the Latin name given in the document was called Fontene
+Bleaudi, an etymology not difficult to trace when what we know of its
+earlier and later history is considered.
+
+Actually this _fontaine belle eau_ is found to-day in the centre of the
+Jardin Anglais, its basin and outlet being surrounded by the
+conventional stone rim or border. After its discovery, according to
+legend, this fountain became the rendezvous of the gallants and the
+poets and painters and the "sweet ladies" so often referred to in the
+chronicles of the Renaissance. Rosso, the painter, perpetuated one of
+the most celebrated of these reunions in his decorations in the Galerie
+François I in the palace, and Cellini represented the fair huntress
+Diana, amid the same surroundings.
+
+Under Louis-le-Jeune in 1169 was erected, in the Cour du Donjon, the
+chapel Saint-Saturnin, which was consecrated by Saint Thomas à Becket,
+then a refugee in France.
+
+Philippe Auguste and Saint Louis inhabited the palace and
+Philippe-le-Bel died here in 1314. From a letter of Charles VII it
+appears that Isabeau de Bavière had the intention of greatly adding to
+the existing chateau because of the extreme healthfulness of the
+neighbourhood. The work was actually begun but seemingly not carried to
+any great length.
+
+Such was the state of things when François I came into his own and,
+because of the supreme beauty of the site, became enamoured of it and
+began to erect an edifice which was to outrank all others of its class.
+The king and court made of Fontainebleau a second capital. It was a
+model residence of its kind, and gave the first great impetus to the
+Renaissance wave which rose so rapidly that it speedily engulfed all
+France.
+
+Aside from its palace and its forest, Fontainebleau early became a noble
+and a gracious town, thanks to the proximity of the royal dwelling. In
+spite of the mighty scenes enacted within its walls, the palace has ever
+posed as one of the most placid and tranquil places of royal residence
+in the kingdom.
+
+All this is true to-day, in spite of the coming of tourists in
+automobiles, and the recent establishment of a golf club with the usual
+appurtenances. Fontainebleau, the town, has a complexion quite its own.
+Its garrison and its little court of officialdom give it a character
+which even to-day marks it as one of the principal places where the
+stranger may observe the French dragoon, with _casque_ and breastplate
+and boots and spurs, at quite his romantic best, though it is apparent
+to all that the cumbersome, if picturesque, uniform is an unwieldy
+fighting costume. There was talk long ago of suppressing the corps, but
+all Fontainebleau rose up in protest. As the popular _chanson_ has it:
+"_Laissez les dragons a leur Maire_." This has become the battle cry and
+so they remain at Fontainebleau to-day, the envy of their fellows in the
+service, and the glory of the young misses of the boarding schools, who
+each Saturday are brought out in droves to see the sights.
+
+Many descriptions of Fontainebleau have been written, but the works of
+Poirson, Pfnor and Champollion-Figèac are generally followed by most
+makers of guidebooks, and, though useful, they have perpetuated many
+errors which were known to have been doubtful even before their day.
+
+The best account of Fontainebleau under François I is given in the
+manuscript memoir of Abbé Guilbert. Apparently an error crept into this
+admirable work, too, for it gives the date of the commencement of the
+constructions of François as 1514, whereas that monarch only ascended
+the throne in 1515. The date of the first works under this monarch was
+1528, according to a letter of the king himself, which began: "We, the
+court, intend to live in this palace and hunt the _'betes rousses et
+noirs qui sont dans la forêt.'_"
+
+An account of François I and his "young Italian friends" makes mention
+of the visit of the king, in company with the Duchesse d'Étampes, to the
+studio of Serlio who was working desperately on the portico of the Cour
+Ovale. He found the artist producing a "melody of plastic beauty, garbed
+as a simple workman, his hair matted with pasty clay." He was standing
+on a scaffolding high above the ground when the monarch mounted the
+ladder. Up aloft François held a conference with his beloved workman
+and, descending, shouted back the words: "You understand, Maître Serlio;
+let it be as you suggest." After the porticos, Serlio decorated the
+Galerie d'Ulysse which has since disappeared owing to the indifference
+of Louis XV and the imbecility of his friends; and always it was with
+François: "You understand, Maître Serlio; it is as you wish." The
+_motif_ may have been Italian, but the impetus for the work was given by
+the _esprit_ of the French.
+
+The defeated monarch was not able to bring away from Padua any trophies
+of war; but he brought plans of chateaux, and gardens as well. He did
+more: he took the very artists and craftsmen who had produced many of
+the Italian masterpieces of the time.
+
+The tracing of the gardens at Fontainebleau, practically as they exist
+to-day, was one of François I's greatest pleasures. In their midst, on
+the shores of the Étang aux Carpes, was erected a tiny rest-house where
+the royal mistresses might come to repose and laugh at the jests of
+Triboulet.
+
+The edifice of François I is of modest proportions and of perfect unity;
+but it is with difficulty that it presents its best appearance,
+overpowered as it is by the heavier masses of the time of Henri IV, and
+suffering as it does because of the eliminations of Louis XIV and Louis
+XV when they made their additions to the palace.
+
+Under the Convention, later on, Fontainebleau's palace again suffered.
+Under the Consulate it became a barracks and a prison, and finally, not
+less terrible, were the restorations of Napoleon and Louis Philippe. A
+castle may sometimes suffer less from a siege than from a restoration.
+
+From every point of view, however, Fontainebleau remains an
+architectural document of the most profound interest and value, and,
+from the tourists' point of view, it is the most appealing of all
+European palaces of this or any other age. The expert, the artist and
+the mere curiosity-seeker all unite in their admiration in spite of the
+fact that the fabric has been denuded of many of its original beauties.
+
+[Illustration: _Palais de Fontainebleau_]
+
+First, this royal dwelling is of the most ample and effective
+proportions; second, it possesses a remarkable series of luxurious
+apartments; third, it still contains some of the finest examples of
+furniture and furnishings of Renaissance and Napoleonic times; and, in
+addition, there is also to be seen that admirable series of paintings
+which represent the School of Fontainebleau. With such an array of
+charms what does it matter if the unity of the Renaissance masterpiece
+of François I is qualified by later interpolations? General impression
+is the standard by which one judges the workmanship of a noble monument,
+and here it is good to an extraordinary degree.
+
+The palace of to-day sits at one end of the aristocratic little town of
+Fontainebleau. Beyond is the forest and opposite are many hotels which
+depend upon the palace as the source from which they draw their
+livelihood.
+
+The principal entrance to the palace opens out from the Place Solferino
+and gives access immediately to the Cour du Cheval Blanc of Chambiges,
+which, since that eventful day in Napoleonic history nearly a hundred
+years ago, has become better known as the Cour des Adieux. At the rear
+rises the famous horseshoe stair, certainly much better expressed in
+French as the _Escalier en Fer à Cheval_, from which the emperor took
+his farewell of his "Vieux Grognards" lined up before him, biting
+savagely at their moustaches to keep down their emotions.
+
+This Cour du Cheval Blanc acquired its name from a plaster cast of
+Marcus Aurelius's celebrated steed which was originally placed here
+under a canopy or baldaquin held aloft by colonnettes. The moulds for
+this work were brought from Venice by Primaticcio and Vignole, but it
+was never cast in bronze and the statue itself disappeared in 1626. The
+courtyard, however, still kept the name until the last of Napoleonic
+days.
+
+As a Napoleonic memory this Cour des Adieux shares popularity with the
+famous Cabinet of the Empire suite of apartments where Napoleon signed
+his abdication. Certainly most visitors will carry away the memory of
+these words as among the most vivid souvenirs of Fontainebleau.
+
+     "_Le 5 Avril, 1814, Napoleon Bonaparte signa son abdication sur
+     cette table dans le cabinet de travail du Roi, le deuxieme après la
+     chambre à coucher à Fontainebleau._"
+
+The abdication itself (the document) is now exposed in the Galerie de
+Diane, transformed lately into the Library.
+
+On the right is the Aile Neuf, built by Louis XV, for the housing of his
+officers, on the site of the Galerie de Ulysse, originally one of the
+most notable features of the palace of François I. Opposite is the sober
+alignment of the Aile des Ministres, and still farther to the rear are
+the Pavillon des Aumoniers, or de l'Horloge; the Chapelle de la Trinité;
+the Pavillon des Armes; the Pavillon des Peintres; the Pavillon des
+Poëls; the Galerie des Fresques; and, finally, the Pavillon des
+Reines-Meres. All of these details are of the period of François I save
+the last, which was an interpolation of Louis XIV.
+
+The Fer à Cheval stairway, however, most curious because of the
+difficulties of its construction, dates from the time of Louis XIII, and
+replaces the stairs built by Philibert Delorme. The tennis court, just
+before the Pavillon de l'Horloge, dates only from Louis XV.
+
+The imposing entrance court is a hundred and twelve metres in width by a
+hundred and fifty-two metres in length, and to see it as it was
+originally, before the destruction of the Galerie d'Ulysse, one must
+imagine it as closed in by a series of small pavilions with their
+frontons of colonnettes preceded only by a staircase and two drawbridges
+crossing the moat, which at that time surrounded the entire confines of
+the palace. The moat is to-day surrounded, where it still exists, by a
+balustrade, due to the rather shabby taste of Louis XV.
+
+An inner courtyard, known as the Cour de la Fontaine, is incomparably of
+finer general design than the entrance court, and the Cour Ovale,
+absolutely as Henri IV left it, is finer still. At the foot of this
+latter court is the Baptistry where were baptised, in 1606, the three
+"Enfants de France," the dauphin, afterwards Louis XIII; the Princesse
+Elizabeth, afterwards the Queen of Spain; and the Princesse de Savoie.
+
+The Cour Ovale is practically of the proportions of the ancient Manor of
+Fontaine Belle Eau, built by Robert le Pieux. There, too, Philippe
+Auguste, Saint Louis, Philippe-le-Bel, Charles V and Charles VII
+frequently resided. François I had no wish that this old manor should
+entirely disappear and preserved its old donjon, a relic which has since
+gone the way of many another noble fane. There are several other notable
+courts or gardens, the Cour des Offices, the Jardin de Diane, the
+Orangerie, the Cour des Princes, etc.
+
+All the original gardens were laid out anew by Louis XIV, and that of
+Diane underwent a considerable change at the hands of Napoleon, who also
+laid out a Jardin Anglais on the site of the ancient Jardin des Pins,
+where originally sprang into being the rippling Fontaine Beleau, or
+Belle Eau, which gave its name to the palace, the forest and the town.
+
+[Illustration: _Salle du Throne, Fontainebleau_]
+
+The park, as distinct from the great expanse of surrounding forest, is a
+finely shaded range of alleys, due chiefly to Henri IV, who cut the
+great canal of ornamental water and ordained the general arrangement of
+its details.
+
+The principal curiosity of the park is the famous Treille du Roy, or the
+King's Grape Vine, which, good seasons and bad, can be counted on to
+give three thousand kilos of authentic _chasselas_, grapes of the finest
+quality. One wonders who gets them: _Ou s'en vont les raisins du roi?_
+This is an interrogation that has been raised more than once in the
+French parliament.
+
+In general, the aspect of the exterior of the Palais de Fontainebleau,
+the walls themselves, the Cours, the alleyed walks are chiefly
+reminiscent of the early art of the Renaissance. François I is, after
+all, more in evidence than the Henris or the Napoleons. Within, the same
+is true in general, though to a less degree. The Renaissance is
+_maitresse_ within and without; the other moods are wholly subservient
+to her grace.
+
+There is hardly an apartment in all the world of palaces in France, or
+beyond the frontiers, to rank with the great Galerie François I at
+Fontainebleau, though indeed its proportions are modest and its lighting
+defective to-day, for Louis XV blocked up all the windows on one side.
+It remains, however, one of the richest examples of the Franco-Italian
+decoration of its era, though somewhat tarnished by the heedlessness of
+Charles X.
+
+Never were there before, nor since, its era such mythological
+wall-paintings as are here to be seen. The aspirants for the Prix de
+Rome protest each year against such subjects being set them for their
+_concours_, but their judges, recalling how effective such examples are,
+are insistent. The best examples of the School of Fontainebleau are a
+distinct variety of French painting. The veriest dabbler in art can say
+with Michelet: "There is no reminiscence of anything Italian therein."
+
+Frankly, these works were the product of secondary artists and their
+pupils. Leonardo da Vinci, too old to do anything more than direct, saw
+himself succeeded by Del Sarto, Rosso and Primaticcio. Cellini may have
+contributed, too, but his labours were doubtless blotted out to a great
+extent by the orders of the all-powerful Duchesse d'Étampes who feared
+his competition with her protegé, Primaticcio. One of the masters of
+this coterie was Nicolo dell' Abbate, better known, perhaps, for his
+works painted at Bologna than for his frescoes at Fontainebleau.
+
+[Illustration]
+
+The Galerie Henri II is notable also for its decorations, the harmonious
+juxtaposition of sculpture and painting, and, although "restored" in
+late years, presents an astonishing pristine vigour. This apartment
+ranks with the Galerie François I, all things considered, as one of the
+chief show apartments of the palace. Its length is thirty metres, its
+breadth ten, with five ample round-headed windows letting in a flood of
+light on either side, one set giving on the Cour Ovale, and the other on
+the Parterre and the magnificent façade of the Porte Dorée. The ceiling
+is broken up into octagonal _caissons_, their depths alternately laid
+with gold or silver, bearing the monogram of the monarch and his
+_devise_. The parquet is laid in divisions reproducing the design of the
+ceiling. On either side the walls are wainscoted in oak similarly
+emblazoned in gold and silver, with the initials of Diane de Poitiers,
+and of her admirer, Henri, everywhere interlaced. Again, a colossal
+monogram reproduces itself in the chimney-piece with the frescoes of
+Nicolo dell' Abbate, and fifty figures of mythological gods and heroes
+decorate the window casings.
+
+The chapel dates chiefly from the time of Henri IV, the altar and
+numerous embellishments belonging to later reigns.
+
+A certain sentiment, not a little real beauty, and much unauthenticated
+history attach themselves to the Salon Louis XIII, the Salle du Trone,
+the Apartment of Madame de Maintenon, those of Napoleon I, of Pope Pius
+VII and of Marie Antoinette.
+
+The Galerie de Diane is little reminiscent of the day of the huntress,
+being a reconstitution under the First Empire, though its decorations
+date from the Restoration, and the ceiling, and furniture, apparently of
+the best of Renaissance times, are merely copies made by Louis Philippe,
+who did not hesitate, on another occasion, to blue-wash the Salon de
+Saint Louis, and who hung worthless third-rate paintings, which even
+provincial museums of the meanest rank have since refused to house, in
+the admirably decorated apartments of the period of François and Henri.
+
+Fontainebleau, to-day, is but a memory of what it was, a memory by no
+means fragmentary, by no means complete; but all sufficient.
+
+Of later years there is actually little to single out in the way of
+remarkable additions or restorations. Under the Second Empire the
+Galerie François I was repainted, some false antiquities added as
+furnishings, and various ranges of books were stored away in the Galerie
+de Diane, having been brought from the chapel which had ceased to serve
+as the Library. This apartment was now refitted as a chapel, and, to
+supplant six wall paintings which had been removed, Napoleon III ordered
+seven canvases from the painter Schopin, illustrating the life of Saint
+Saturnin.
+
+[Illustration]
+
+Finally, the Salle de Spectacle completes the modern additions, and,
+while gaudily striking, is scarcely above the taste of a gilded café in
+some pompous Préfecture.
+
+Henri IV was the creator of the park of the palace, which extended as
+far as the village of Avon and absorbed all the Seigneurie de Montceau,
+of which Mi-Voie (the dairy of Catherine de Médici) occupied a part. The
+acquisition of the Seigneurie was made in 1609. Across it was cut a
+"grand canal" in imitation of that already possessed by the Chateau de
+Fleury. It was a great rarity as a garden accessory, and was more than a
+quarter of a league long and forty metres wide. Bassompierre said in his
+memoirs that Henri IV made him a wager that it could be filled with
+water in two days. It actually took eight.
+
+To the north of the park, Henri IV built, under the name of La
+Menagerie, what he called a _maison de plaisance_, but which was really
+the forerunner of the animal house at Versailles.
+
+To all these works of Henri IV in the gardens at Fontainebleau is
+attached the name of Francine. There were two brothers of the name,
+Thomas and Alexandre, and it was the latter who chiefly occupied himself
+with the Parterre, the Chaussée and the Grand Canal at Fontainebleau. In
+the Jardin de la Reine he erected the celebrated Fontaine de Diane which
+finally gave its name to the garden itself. The fountain was designed by
+Barthélemy Prieur, and was cast in 1603. The original bronzes are now in
+the Louvre, those seen at Fontainebleau to-day being later works (1684).
+
+The Forest of Fontainebleau is a dozen leagues in circumference, and of
+an area of nearly thirty-five thousand acres. Its beauty, its natural
+beauty, is unrivalled. Rocks, ravines, valleys, patriarchal oaks and
+beeches, plains, woods, glades, meadows, lawns and cliffs, all are here.
+Its population of stag and deer was practically exterminated during the
+Revolution of 1830, but nevertheless it sustained its reputation as a
+great hunting-ground for long afterwards.
+
+The Royal Hunt invariably centered at La Croix du Grand Veneur, a
+notable landmark of the forest even now, at the intersection of four
+magnificent forest roads. Its name comes from a legend of a spectral
+black huntsman who was supposed to haunt the forest, and who appeared
+for the last time, in reality or imagination, to Henri IV shortly before
+his assassination.
+
+In 1854, one of the last and most gorgeous of Fontainebleau hunts was
+given by Louis Napoleon. The emperor spent lavishly for the equipment of
+the hunt, and granted liberal stipends to the attendants that they might
+caparison themselves with some semblance of picturesque dignity; horses
+and dogs were furnished and cared for on the same liberal scale.
+
+The costuming of a hunting party under such conditions was not the least
+appealing of its picturesque elements. Three-cornered hats, gold lace,
+knee breeches, silk stockings and other costly properties, when provided
+for a single special occasion, as they were in this case, were apt to
+suggest the life of centuries long gone by rather than that of modern
+times.
+
+The Forest of Fontainebleau can best be briefly described as a
+rendezvous for tourists and "trippers," and as a vast open-air studio
+for the youthful emulators of "the men of Barbison."
+
+Historic, romantic and artistic memories and realities are on every
+hand; the march of time and progress has not dimmed them, nor thinned
+them out; the Forest of Fontainebleau remains to-day the best known and
+most delightful extent of wildwood in all the world.
+
+The chief of the well-known names associated with the Forest of
+Fontainebleau, and one which will never die, is that of Denecourt,
+called also the "Sylvain de la Forêt," a mythological appellation which
+came from his abounding knowledge of its devious ways and byways. It was
+in 1841 that Denecourt began his original studies and catalogued its
+every stone and tree. He invented names and gave a historical setting to
+many a picturesque and romantic site which might not have been known at
+all had it not been for his enthusiasm.
+
+After the vogue of Denecourt all the world followed in his footsteps
+until the Parisian knew as well the Longue Rocher, the Gorges d'Apremont
+and the Gorge de Franchard as he did the Rue de la Paix or the Champs
+Elysées. Denecourt's great work, "_Promenades dans la Forêt de
+Fontainebleau_" appeared in 1845, and if he is to be criticised for
+letting his fancy run away with him now and then, and for the opera
+bouffe nomenclature of many of the _caves_ and _mares_ and _chènes_ and
+"fairy-bowers" and "tables of kings," he at least has enabled a curious
+public to become better acquainted with this great forest.
+
+The flora of the Forest of Fontainebleau is remarkably varied; Denecourt
+gives seventy varieties of plants and flowers which grow and propagate
+here naturally, to which are to be added a great number of nondescript
+vines, lichens and vegetable mosses.
+
+Of the trees the list extends from the imposing and sometimes gigantic
+oaks, elms, beeches, and willows to shrubs and heather growth of the
+most humble species.
+
+A score or more of the most commonly known feathered tribes people the
+forest to-day with almost the same freedom of life and abundance as in
+monarchial times. The songsters are all there, from the robin to the
+nightingale; as well as the partridge and the celebrated indigenous
+grouse.
+
+Previous to 1830 the forest was well supplied with big game, deer and
+wild boar without number; but, in later times, as was but natural, these
+have been greatly thinned out. Rabbits and hares, to say nothing of
+foxes and the like, were formerly so abundant that, under Louis
+Philippe, it was necessary to carry out what was practically a war of
+extermination. To-day they exist, of course, but in no great numbers.
+
+Another sort of publicity has been given the Forest of Fontainebleau by
+its association with the painters of the thirties. Theodore Rousseau,
+in 1836, lived at Barbison, which at that time was but a hamlet of a few
+houses, with no encumbering hotels, garages and merry-go-rounds as
+to-day.
+
+A certain Père Ganne kept a sort of a lodging house where artists were
+made welcome at an exceedingly modest price. Not only the really famous
+and much exploited painters of the time gained fortunes here, but those
+of a more conservative school, who never rose to really great
+distinction, also drew much of their inspiration from the neighbourhood,
+among them Hamon, Boulanger and Célestin Nanteuil.
+
+Without having to go far to hunt up their subjects, the Forest of
+Fontainebleau lying near Barbison offered to painters much that was not
+available within so small a radius elsewhere.
+
+Diaz was here already when, in 1849, Jacque and Millet arrived upon the
+scene, and at more or less frequent intervals, and for more or less
+lengthy stays, there came Corot, Dupré and Daubigny.
+
+Just what the Barbison school produced in the way of painting all the
+world knows to-day, but these men were originally the target of every
+prejudiced critic of the Boulevards and the Faubourgs. The present day
+has brought its reward and appreciation, though it is the dealers who
+have profited--the men are dead.
+
+[Illustration: _Monument to Rousseau and Millet at Barbison_]
+
+In memory of the fame brought to this little corner of the forest in
+general, and to Barbison in particular, there was placed (in 1894), at
+the entrance to the village, a bronze medallion showing the heads of
+Millet and Rousseau. It was a delicate way of showing appreciation for
+the talents of those two great men who actually founded a new school of
+painting.
+
+At the other end of the forest is the little village of Marlotte, also a
+haven for many painters of a former day, and no less so for those of
+to-day. The old forest in three quarters of a century has seen itself
+reproduced on canvas in all its moods. No painter ever lived, nor could
+all the painters that ever lived, exhaust its infinite variety. Hebert
+in his "_Dictionnaire de la Forêt de Fontainebleau_" says, rightly
+enough, that, with the coming of the men of Fontainebleau and its
+"_artist-villages_" the classic type of "Paysage d'Italie" has
+disappeared from the Salon Catalogues.
+
+Art amateurs and the common people alike made the reputation of
+Fontainebleau; the mere "trippers" were brought thither by Denecourt,
+but the real forest lovers were those who were attracted by the
+masterpieces of the painters. The town of Fontainebleau has changed
+somewhat under this double influence. At Fontainebleau itself are two
+monuments in memory of painters who have passed away. One of these is to
+the memory of Decamps, who was killed by a fall from his horse while
+riding in the forest; it is a simple bust, the work of Carrier-Belleuse.
+The other is of Rosa Bonheur who died at Thomery, a little village on
+the southern border of the forest, in 1902; it is an almost life-size
+bull from a small model by the artist herself and surmounts a pedestal
+which also bears a medallion of the artist.
+
+
+
+
+CHAPTER XII
+
+BY THE BANKS OF THE SEINE
+
+
+On the highroad to Saint Germain one passes innumerable historic
+monuments which suggest the generous part that many minor chateaux
+played in the court life of the capital of old.
+
+To-day, Maisons, La Muette and Bagatelle are mere names which serve the
+tram lines for roof signs and scarcely one in a thousand strangers gives
+them a thought.
+
+The famous Bois de Boulogne and its immediate environment have for
+centuries formed a delicious verdant framing for a species of French
+country-house which could not have existed within the fortifications.
+These luxurious, bijou dwellings, some of them, at least, the caprices
+of kings, others the property of the new nobility, and still others of
+mere plebeian kings of finance, are in a class quite by themselves.
+
+Perhaps the most famous of these is the celebrated Bagatelle, within the
+confines of the Bois itself. The Chateau de Bagatelle was built in a
+month, thus meriting its name, by the Comte d'Artois, the future
+Charles X, as a result of a wager with Marie Antoinette. On its façade
+it originally bore the inscription: "_Parva sed apta_"--"small but
+convenient."
+
+[Illustration]
+
+Bagatelle occupied a corner of the royal domain and, after its
+completion, was sold to the Marquise de Monconseil, in 1747, who gave to
+this princely suburban residence a dignity worthy of its origin. Then
+came La Pompadour on the scene, the _petite bourgeoise_ who, by the
+nobility acquired by the donning of a court costume and marriage with
+the Sieur Normand d'Étioles, usurped the right to sit beside duchesses
+and be presented to the queen, if not as an equal, at least as the
+_maitresse_ of her spouse, the king.
+
+There is a legend about a meeting between La Pompadour and the king at
+Bagatelle, a meeting in which she established herself so firmly in the
+graces of the monarch that on the morrow she formed a part of the
+entourage at Versailles.
+
+After having come into the possession of the heirs of Sir Richard
+Wallace, Bagatelle finally became the property of the State.
+
+It is in the Chateau de Bagatelle that is to be installed the "Musée de
+la Parole"--"The Museum of Speech." The French, innovators ever, plan
+that Bagatelle shall become a sort of conservatory of the human voice,
+and here will be classed methodically the cylinders and disks which have
+recorded the spoken words of all sorts and conditions of men.
+
+In this Musée de la Parole will be kept phonographic records of all
+current dialects in France, the argot of the Parisian lower classes,
+etc., etc.
+
+Up to the present the evolution of the speech of man has ever been an
+enigma. No one knows to-day how Homer or Virgil pronounced their words,
+and Racine and Corneille, though of a time less remote, have left no
+tangible record of their speech. Monsieur Got of the Comédie Française
+believes that Louis XIV pronounced "_Moi_," "_le Roi_" as "_Moué_" "_le
+Roué_"; and thus he pronounced it in a speech which has been recorded in
+wax and is to form a part of the collection at Bagatelle.
+
+The Polo Grounds of Bagatelle, between the chateau and the Seine as it
+swirls around the Ile de la Folie, are to-day better known than this
+dainty little Paris palace; but Bagatelle will some day come to its own
+again.
+
+Neuilly bounds the Bois de Boulogne on the north, and has little of a
+royal appearance to-day, save its straight, broad streets.
+
+There is a royal incident connected with the Pont de Neuilly which
+should not be forgotten. It came about in connection with the return of
+Henri IV from Saint Germain in company with the queen and the Duc de
+Vendome. They were in a great coach drawn by four horses which insisted
+on drinking from the river in spite of the efforts of the coachman to
+prevent them.
+
+The carriage was overturned and the royal party barely escaped being
+drowned. One of the aids who accompanied them recounted the fact that
+the impromptu bath had cured the king's toothache which he had acquired
+over a rather hasty meal just before leaving the palace. "Had I
+witnessed the adventure," said the Marquis de Verneuil, "I should have
+proposed the toast: 'Le Roi Boit!" As a result of this incident a new
+bridge was constructed, though it was afterwards replaced by the present
+stone structure over which a ceaseless traffic rushes in and out of
+Paris to-day. It was this present bridge over which Louis XV was the
+first to pass on September 22, 1772.
+
+The Chateau de Neuilly was a favourite suburban residence of Louis
+Philippe. It was here that a delegation came to offer him the crown,
+and, after he had become king, he was pleased to still inhabit it and
+actually spent considerable sums upon its maintenance. When the
+Revolution of 1848 broke out, the sovereign took refuge at Neuilly and,
+when besieged by the multitude, took flight in the night of February 26
+and left his chateau in the hands of a band of ruffians who pillaged it
+from cellar to garret, finally setting it on fire. It burned like a pile
+of brushwood, and it is said that more than a hundred drunken desperados
+perished when its walls fell in. This was the tragic end of the Chateau
+de Neuilly.
+
+By a decree of the president of the later Republic the Orleans princes
+were obliged to sell all their French properties and the park of the
+Chateau de Neuilly was cut up into morsels and lots were sold to all
+comers. Thus was born that delightful Paris suburb, with the broad,
+shady avenues and comfortable houses, with which one is familiar to-day.
+The aristocratic Parc de Neuilly, with Saint James, is the only tract
+near Paris where one finds such lovely gardens and such fresh, shady
+avenues.
+
+Another quarter of Neuilly possesses a history worthy of being
+recounted. The district known as Saint James derived its name from a
+great suburban property which in 1775 belonged to Baudart de Saint
+James. He created a property almost royal in its appointments, its
+gardens having acquired an extraordinary renown. When he became a
+bankrupt a throng of persons visited the property not so much with a
+view to purchase as out of curiosity. A writer of the time says of this
+Lucullus that he was the envy of all Paris. He died soon after his ruin,
+from chagrin, and in apparent poverty, which seemingly established his
+good faith with his creditors. Under the First Empire the domain was
+bought by, or for, the Princesse Borghese, who here gave many brilliant
+fêtes at which the emperor himself frequently assisted. On the occasion
+of the marriage of Napoleon to Marie Louise a series of fêtes took place
+here which evoked the especially expressed encomiums of the emperor.
+
+In 1815 Wellington made it his headquarters and here had his first
+conference with Blucher. Upon Wellington quitting Saint James the
+property was pillaged by the Iron Duke's own troops and actually
+demolished by the picks and axes of the soldiery.
+
+Near the Passy entrance of the Bois is La Muette, a relic of a royal
+hunting-lodge which took its name from the royal pack of hounds
+(_meute_) which was formerly kept here.
+
+The Chateau de la Muette was the caprice of François I, who, when he
+came to Paris, wished to have his pleasures near at hand, and, being the
+chief partisan of the hunt among French monarchs, built La Muette for
+this purpose.
+
+The Chateau de la Muette is thus classed as one of the royal dwellings
+of France though hardly ever is it mentioned in the annals of to-day.
+
+Rebuilt by Charles IX, from his father's more modest shooting box, La
+Muette became the centre of the court of Marguerite de Navarre, the
+first wife of Henri IV; after which it served as the habitation of the
+dauphin, who became Louis XIII.
+
+During the regency, Philippe d'Orleans took possession of the chateau
+until the enthronement of Louis XV. The latter here established a little
+court within a court, best described by the French as: "_ses plaisirs
+privés_." It was this monarch who rebuilt, or at least restored, the
+chateau, and brought it to the state in which one sees it to-day.
+
+In 1783 Louis XVI, Marie Antoinette and the court took up a brief
+residence here to assist at the aerostatic experiences of De Rosier, and
+in 1787, ceasing to be a royal residence, La Muette was offered for sale
+after first having been stripped of its precious wainscotings, its
+marbles and the artistic curiosities of all sorts with which it had been
+decorated. The chateau itself now became the property of Sebastian
+Erard, who bought it for the modest price of two hundred and sixty
+thousand francs.
+
+Somewhat farther from Paris, crossing the peninsula formed by the first
+of the great bends of the Seine below the capital, is Chatou which has a
+royal reminder in its Pavilion Henri IV, or Pavillon Gabrielle, which
+the gallant, love-making monarch built for Gabrielle d'Estrées. Formerly
+it was surrounded by a vast park and must have been almost ideal, but
+to-day it is surrounded by stucco, doll-house villas, and unappealing
+apartments, until only a Gothic portal, jutting from a row of dull house
+fronts, suggests the once cosy little retreat of the lovely Gabrielle.
+
+The height of Louveciennes, above Bougival, closes the neck of the
+peninsula and from it a vast panorama of the silvery Seine and its
+_coteaux_ stretches out from the towers of Notre Dame on one hand to the
+dense forest of Saint Germain on the other.
+
+The original Chateau de Louveciennes was the property of Madame la
+Princesse de Conti, but popular interest lies entirely with the Pavilion
+du Barry, built by the architect Ledoux under the orders of Louis XV.
+
+Du Barry, having received the chateau as a gift from the king, sought to
+decorate it and reëmbellish it anew. Through the ministrations of a
+certain Drouais, Fragonard was commissioned to decorate a special
+pavilion outside the chateau proper, destined for the "_collations du
+Roi_."
+
+The subject chosen was the "Progres de l'Amour dans le Coeur des
+Jeunes Filles." Just where these panels are to-day no one seems to know,
+but sooner or later they will doubtless be discovered.
+
+Fragonard's famous "Escalade," or "Rendezvous," the first of the series
+of five proposed panels, depicted the passion of Louis XV for du Barry.
+The shepherdess had the form and features of that none too scrupulous
+feminine beauty, and the "_berger gallant_" was manifestly a portrait of
+the king.
+
+Perhaps these decorations at Louveciennes were elaborations of these
+smaller canvases. It seems quite probable.
+
+Sheltered snugly against the banked-up Forest of Saint Germain, on the
+banks of the Seine, is Maisons-Laffitte. Maisons is scarcely ever
+mentioned by Parisians save as they comment on the sporting columns of
+the newspapers, for horse-racing now gives its distinction to the
+neighbourhood, and the old Chateau de Maisons (with its later suffix of
+Laffitte) is all but forgotten.
+
+François Mansart built the first Chateau de Maisons on a magnificent
+scale for René de Longueil, the Superintendent of Finance. In a later
+century it made a most effectual appeal to another financier, Laffitte,
+the banker, who parcelled out the park and stripped the chateau.
+
+For a century, though, the chateau belonged to the family of its
+founder, and in 1658 the surrounding lands were made into a Marquisate.
+In 1671, on the day of the death of Philippe, Duc d'Anjou, Maisons may
+be said to have become royal for the court there took up its residence.
+Later, the Marquis de Soyecourt became the owner and Voltaire stayed
+here for a time; in fact he nearly died here from an attack of smallpox.
+
+In 1778 the property was acquired by the Comte d'Artois and the royal
+family of the time were frequent guests. The king, the queen and each
+of the princes all had their special apartments, and if Louis XVI had
+not been too busy with other projects, more ambitious ones, there is
+little doubt but that he would have given Maisons an éclat which during
+all of its career it had just missed. At the Revolution it was sold as
+National Property and the proceeds turned into public coffers.
+
+With the Empire the chateau became more royalist than ever. Maréchal
+Lannes became its proprietor, then the Maréchal de Montebello, who here
+received Napoleon on many occasions. With the invasion of 1815 the
+village was devastated, but the chateau escaped, owing to its having
+been made the headquarters of the invading allies. After this, in 1818,
+the banker Laffitte came into possession. He exercised a great
+hospitality and lived the life of an opulent bourgeois, but he destroyed
+most of the outbuildings and the stables built by Mansart, and cut up
+the great expanse of park which originally consisted of five hundred
+hectares. His ideas were purely commercial, not the least esthetic.
+
+The scheme of decoration within, as without, is distinctly unique. Doric
+pilasters and columns support massive cornices and round-cornered
+ceilings, with here and there antique motives and even Napoleonic
+eagles as decorative features. To-day all the apartments are deserted
+and sad. The finest, from all points of view, is that of the
+Salle-à-Manger, though indeed some of the motives are but plaster
+reproductions of the originals. The chimney-piece, however, is left, a
+pure bijou, a model of grace, more like a pagan altar than a
+comparatively modern mantel. The oratory is in the pure style of the
+Empire, and the stairway, lighted up by a curiously arranged
+dome-lantern, gives a most startling effect to the entrance vestibule.
+
+In general the design of Maisons is gracious, not at all outré, though
+undeniably grandiose; too much so for a structure covering so small an
+area. The Cour d'Honneur gives it its chief exterior distinction and the
+two pavilions have a certain grace of charm, when considered separately,
+which the ensemble somewhat lacks. The surroundings, had they not been
+ruthlessly cut up into building lots for over-ambitious Paris
+shopkeepers, would have added greatly to the present appearance of the
+property. As it is, the near-by race-course absorbed the orchard, the
+_pelouse_ and many of the garden plots.
+
+
+
+
+CHAPTER XIII
+
+MALMAISON AND MARLY
+
+
+Out from Paris, by the cobbly Pavé du Roi, which a parental
+administration is only just now digging up and burying under, just
+beyond the little suburban townlet of Rueil (where the Empress Josephine
+and her daughter Hortense lie buried in the parish church), one comes to
+Malmaison of unhappy memory. It is not imposing, palatial, nor,
+architecturally, very worthy, but it is one of the most sentimentally
+historic of all French monuments of its class.
+
+Since no very definite outlines remain of any royal historical monument
+at Rueil to-day the tourist bound towards Versailles by train, tram or
+road, gives little thought to the snug little suburb through which he
+shuffles along, hoping every minute to leave the noise, bustle and
+cobblestones of Paris behind.
+
+Rueil is deserving of more consideration than this. According to Gregory
+of Tours the first race of kings had a "pleasure house" here, and called
+the neighbourhood Rotolajum. Not always did these old kings stay cooped
+up in a fortress in the Isle of Lutetia. Sometimes they went afield for
+a day in the country like the rest of us, and to them, with their slow
+means of communication and the bad roads of their day, Rueil, scarce a
+dozen miles from Notre Dame, seemed far away.
+
+Childerbert I, son of Clovis, is mentioned as having made a protracted
+sojourn at Rueil, and whatever may have existed then in the way of a
+royal residence soon after passed to the monks of Saint Denis, who here
+fished and hunted and lived a life of comfort and ease such as they
+could hardly do in their fortress-abbey. They, too, required change and
+rest from time to time, and, apparently, when they could, took it.
+
+The Black Prince burned the town and all its dependencies in 1346, and
+only an unimportant village existed when Richelieu thought to build a
+country-house here on this same charming site which had so pleased the
+first French monarchs. Richelieu did his work well, as always, and built
+an immense chateau, surrounded by a deep moat into which were turned the
+swift-flowing waters of the Seine. A vast park was laid out, in part in
+the formal manner and in part as a natural preserve, and the
+neighbourhood once more became frequented by royalty and the nobles of
+the court.
+
+Richelieu bequeathed the property to his niece, the Duchesse
+d'Aiguillon, and Louis XIV became a frequent dweller there--as a
+visitor, but he did not mind that. Louis XIV was sometimes a monarch,
+sometimes a master, and sometimes a "family friend," to put it in a
+noncommittal manner.
+
+The Revolution nearly made way with the property and the Duc de Massena,
+a few years afterwards, reëstablished it after a fashion, but
+speculating land-boomers came along in turn and royal memories meaning
+nothing to them the property was cut up into streets, avenues and house
+lots.
+
+The Chateau de Malmaison, which is very near Rueil, is in quite a
+different class. Its history comes very nearly down to modern times. The
+memory of Malmaison is purely Napoleonic. Its historical souvenirs are
+many, but its actual ruins have taken on a plebeian aspect of little
+appeal in these later days.
+
+In 1792 Malmaison was sold as a piece of national merchandise to be
+turned into _écus_, and a certain Monsieur Lecouteux de Canteleu, having
+the ready cash and a disposition to live under its roof, took over the
+proprietorship for a time. It was he who sold it to Josephine
+Beauharnais, and it was she who gave it a glory and splendour which it
+had never before possessed, gave it its complete fame, in fact.
+
+Napoleon himself, as First Consul, was passionately fond of the place,
+but by the time he had become emperor, because of unhappy memories,
+perhaps, for he had them at times, came rarely to this charming suburban
+chateau.
+
+It was at Malmaison that began the good fortune of Josephine, and it was
+at Malmaison that it flickered out like the dying flame of a candle.
+
+In a beating rain, on Saturday, December 16, 1809, Josephine quitted the
+Tuileries, her eyes still red with the tears from that last brief
+interview. She arrived at Malmaison at the end of a lugubrious day, when
+the whole place was enveloped in a thick fog. She passed the night
+almost alone in this great house where she had previously been so happy.
+She could hardly, however, have been more sad than Napoleon was that
+same night. He had shut himself up in his cabinet, remorseful and alone.
+
+The Sunday following was hardly less melancholy, for it was then
+Josephine learned that Malmaison had been endowed with an income of two
+millions for its upkeep, and that her personal belongings and the
+furnishings of her favourite apartments were already on the way thither
+from the Tuileries. The wound was not even then allowed to heal, for
+she learned that Napoleon had ordained that she was to receive the
+visits of the court as if she were still empress.
+
+[Illustration: _Chateau de Malmaison_]
+
+Napoleon had already written his former spouse to the effect that he
+would give much to see her, but that he did not feel sufficiently sure
+of himself to permit of it. This historic letter closed thus; "_Adieu,
+Josephine, bonne nuit, si tu doutais de moi, tout sera bien indigne_."
+
+On the 17th of December Napoleon actually did come to Malmaison to see
+her from whom he was officially separated. Josephine had confided to
+Madame de Remusat, her lady-in-waiting, "It almost seems as if I were
+dead, and only possessed of the faculty of remembering the past."
+
+In this Malmaison, so full of souvenirs of other days, Josephine was
+obliged to content herself, for on January 12, 1810, the religious
+marriage of Josephine and Napoleon was annulled automatically because,
+as was claimed, it had not been celebrated with the necessary
+formalities.
+
+Here at Malmaison Josephine even surrounded herself with the most
+intimate souvenirs of Napoleon: a lounging chair that he was wont to
+occupy stood in its accustomed place; his bed was always made; his sword
+hung upon the wall; his pen was in his inkwell; a book was open on his
+desk and his geographical globe--his famous _mappemond_--was in its
+accustomed place.
+
+Princes passing through Paris came to Malmaison to salute the former
+empress, and she allowed herself to become absorbed in her greenhouses
+and her dairy, the direction of her house, her receptions and her
+_petite cour_.
+
+In time all came to an end. When Napoleon returned to Paris in 1815 he
+interrogated the doctor who had cared for Josephine during the illness
+which terminated in her death the year before and asked him: "Did she
+speak of me at the last?" The doctor replied: "Often, very often." With
+emotion Napoleon replied simply: "_Bonne femme: bonne Josephine elle
+m'aimeit vraiment_."
+
+After Waterloo Napoleon himself retired to Malmaison, which had become
+the property of Josephine's children, Eugene and Hortense, and closed
+himself up in the room where she died, the library which he occupied
+when triumphant First Consul.
+
+Here he lived five mortal days of anguish preceding his departure for
+Rochefort on that agonizing exile from which he never returned.
+
+After the divorce Josephine preserved the property as her own particular
+residence, and in 1814 received there the celebrated visit of the
+allied sovereigns. History tells of a certain boat ride which she took
+on a neighbouring lake in company with the Emperor Alexander which is
+fraught with much historic sentiment. It was this imprudent excursion,
+in the cool of a May evening, that caused the death of the former
+empress three days later. It was from this bijou of a once royal abode
+that Napoleon launched his famous proclamation to the army which the
+arrogant Fouché refused to have printed in the "_Moniteur Officiel_."
+Upon this Napoleon sent the Duc de Rovigo to Paris for his passports and
+the necessary orders which would enable him to depart in peace. The next
+moment he had changed his mind, and he changed it again a few moments
+afterwards. As the result of the Prussians' advance on Paris by the left
+bank of the Seine Napoleon was obliged to accept the inevitable, and
+with the words of General Becker ringing in his ears: "_Sire, tout est
+pret_," he crossed the vestibule and entered the gardens amid a painful
+calm on his part, and an audible weeping by his former fellows in arms
+who were lined up to do him honour. He embraced Hortense passionately,
+and saluted all the personages of his party with a sympathy and emotion
+unbelievable. With an eternal adieu and a rapid step down the garden
+walk to the driveway, he at last entered the carriage which was
+awaiting him and was driven rapidly away. Some days after the Allies
+pillaged and sacked Malmaison. Its chief glory may be said to have
+departed with the Corsican.
+
+Under the Restoration, Prince Eugene had a sort of "rag sale" of what
+was left. The lands which Josephine had bought of Lecouteaux were sold
+to the highest bidder and the exotic shrubs and plants to any who would
+buy, the pictures to such connoisseurs as had the price, those that were
+left being sent to Munich. A Swedish banker now came on the scene (1826)
+and bought the property--the chateau and the park--which he preserved
+until his death twenty years later. Then it went to Queen Christina, and
+was ultimately purchased by Napoleon III.
+
+In October, 1870, during the siege of Paris, General Ducrot sought to
+make a reconnaissance by way of Malmaison, and so weak was his project
+that the equipages of the King of Prussia and his État Major invested
+the environs and made the property their official headquarters.
+
+Near by is a fine property called "Les Bruyeres," a royal estate of
+Napoleon III. It was created and developed by the emperor and was always
+referred to as a Parc Impérial.
+
+Perhaps the most banal of all the royal souvenirs around Paris is that
+gigantic mill-wheel known as the Machine de Marly, down by the Seine a
+few miles beyond Malmaison, just where that awful cobblestoned roadway
+begins to climb up to the plateau on which sits the chateau of Saint
+Germain and its park.
+
+Because it is of unesthetic aspect is no reason for ignoring the famous
+Machine de Marly, the great water-hoisting apparatus first established
+in the reign of Louis XIV to carry the waters of the Seine to the ponds
+and fountains of Versailles.
+
+It was a creation of a Liègois, named Rennequin Sualem, who knew not how
+to read or write, but who had a very clear idea of what was wanted to
+perform the work which Louis XIV demanded. For a fact the expense of the
+erection of the "Machine," and the cost of keeping its great wheels
+turning, were so great that it is doubtful if it was ever a paying
+proposition, but that was not a _sine qua non_ so far as the king's
+command was concerned. It had cost millions of _livres_ before its
+wheels first turned in 1682, and, if the carpenter Brunet had not come
+to the rescue to considerably augment the volume of water raised (by
+means of compressed air), it is doubtful if there would ever have been
+enough water for the fountains of Versailles to play even one day a
+year, as they do now every happy Sunday, to the delight of the
+middle-class Parisian and the droves of Cookites who gaze on them with
+wonder-opened eyes.
+
+The water was led from the Machine de Marly to Versailles by a conduit
+of thirty-six arches where, upon reaching a higher level than the
+gardens, it flowed by gravity to the fountains and basins below. This
+aqueduct was six hundred and forty-three metres long, and twenty-three
+metres high. It was a work which would have done credit to the Romans.
+
+A far greater romantic sentiment attaches itself to the royal chateau of
+Marly-le-Roi than to the utilitarian "Machine," by which the suburb is
+best known to-day.
+
+The history of Marly-le-Roi appears from the chronicles the most
+complicated to unravel of that of any of the kingly suburbs of old
+Paris, though in the days of the old locomotion a townlet twenty-six
+kilometres from the capital was hardly to be thought of as a suburb.
+
+Marly-le-Roi, at any rate, with Marly-le-Bourg and Marly-le-Chatel, was
+a royal dwelling from the days of Thierry III (678). The neighbouring
+region had been made into a countship by the early seventeenth
+century, and Louis XIV acquired it as his right in exchange for
+Neuphle-le-Chateau in 1693, incorporating it into the domain of
+Versailles.
+
+By this time it had become known as Marly-le-Roi, in distinction to the
+other bourgs, and the king built a chateau-royal, variously known as the
+Palais and the Ermitage. For a fact it was neither one thing nor the
+other, according to accepted definition, but rather a group of a dozen
+dependent pavilions distributed around a central edifice, the whole
+straggling off into infinite and manifestly unlovely proportions. It was
+as the sun surrounded by the zodiac.
+
+Isolated on a monticule by the river bank the chateau overlooked its
+brood of small pavilions, which in a way formed an _entresol_, or foyer,
+leading to the Pavilion Royal. All were connected by iron trellises, _en
+berceau_, and the effect must have been exceedingly bizarre; certainly
+theatrical.
+
+The four faces of these pavilions were frescoed, and balustrades and
+vases at the corners were the chief architectural decorations.
+
+The royal pavilion consisted within of four vestibules on the ground
+floor, each leading to a grand apartment in the centre. In each of the
+four angles was a "self-contained" apartment of three or four rooms.
+What this royal abode lacked in beauty it made up for in convenience.
+
+Each of the satellite pavilions was occupied by a high personage at
+court. The Chapel and the Corps de Garde were detached from the chateau
+proper, and occupied two flanking wings.
+
+The plans of the "Palais-Chateau-Ermitage" of Marly-le-Roi were from the
+fertile brain of Mansart, and were arranged with considerable ingenuity,
+if not taste, generously interspersed with lindens and truly magnificent
+garden plots. There was even a cascade, or rather a tumbling river
+(according to the French expression), for it fell softly over
+sixty-three marble steps, forming a sort of wrinkled sheet of water,
+which must indeed have been a very charming feature. It cost a hundred
+thousand _écus_ to merely lead the water up to it. The expenses of the
+Pavilion de Marly, in the ten years from 1680 to 1690, amounted to
+4501279 _livres_, 12 _sols_, 3 _deniers_. From this one may well judge
+that it was no mean thing.
+
+The honour of being accounted a person of Marly in those times was
+accredited as a great distinction, for it went without saying in that
+case one had something to do with affairs of court, though one might
+only have been a "furnisher." To be a courtier of Louis XIV, or to be a
+_pensionnaire_ at Versailles, could hardly have carried more
+distinction.
+
+The court usually resided at Marly from Wednesday until Saturday, and as
+"the game" was the thing it is obvious that the stakes were high.
+
+The vogue of the day was gaming at table, and Marly, of all other
+suburban Paris palaces, was an ideal and discreet place for it. "High
+play and midnight suppers were the rule at Marly." This, one reads in
+the court chronicle, and further that: "The royal family usually lost a
+hundred thousand _écus_ at play at each visit." One "gentleman croupier"
+gained as much as three thousand _louis_ at a single sitting.
+
+Madame de Maintenon was the real ruler of Marly in those days; she had
+appropriated the apartments originally intended for the queen, from
+which there was a private means of communication to the apartments of
+the king, and another forming a sort of private box, overlooking the
+royal chapel.
+
+Little frequented by Louis XV, and practically abandoned by Louis XVI,
+the palace at Marly was sold during the Revolution, after which it was
+stripped of its art treasures, many of which adorn the gardens of the
+Tuileries to-day; the great group of horses at the entrance to the
+Champs Elysées came from the watering place of Marly.
+
+Actually, the royal pavilion at Marly has been destroyed, and there
+remain but the most fragmentary, unformed heaps of stones to tell the
+tale of its ample proportions in the days of Louis XIV and de Maintenon.
+
+The park is to-day the chief attraction of the neighbourhood, like the
+one at Saint Cloud, which it greatly resembles. Across the park lies the
+great highway from the capital to Versailles, over which so many joyous
+cavalcades were wont to amble or gallop in the days of gallantry. The
+pace is not more sober to-day, but gaily caparisoned horses and gaudy
+coaches have given way to red and yellow "Rois des Belges," the balance
+lying distinctly in favour of the former mode of conveyance, so far as
+picturesqueness is concerned.
+
+The Forêt de Marly is very picturesque, but of no great extent. Formerly
+it enclosed many shooting-boxes belonging to the nobles of the court, of
+which those of Montjoie and Desert de Retz were perhaps the most
+splendid.
+
+On the Versailles road was the Chateau de Clagny, a royal _maison de
+plaisance_, of an attractive, but trivial, aspect, though its
+architecture was actually of a certain massiveness. Its gardens and the
+disposition of its apartments pleased the king's fancy when he chose to
+pass this way, which was often. He is said to have personally spent over
+two million francs on the property. It must have been of some
+pretensions, this little heard of Chateau de Clagny, for in a single
+year ten thousand _livres_ were expended on keeping the gardens. To-day
+it is non-existent.
+
+
+
+
+CHAPTER XIV
+
+SAINT CLOUD AND ITS PARK
+
+
+The historic souvenirs of Saint Cloud and its royal palace are many and
+varied, though scarcely anything tangible remains to-day of the fabric
+so loved by Francis I and Henri II, and which was, for a fact, but a
+magnificent country-house, originally belonging to the Archbishops of
+Paris.
+
+To-day the rapid slopes of the hillsides of Saint Cloud are peopled with
+a heterogeneous mass of villas of what the Parisian calls the "coquette"
+order, but which breathe little of the spirit of romance and gallantry
+of Renaissance times. Saint Cloud is simply a "discreet" Paris suburb,
+and the least said about it, its villas and their occupants to-day, the
+better.
+
+The little village of Saint Cloud which is half-hidden in the Forest of
+Rouvray, was sacked and burned by the English after the battle of
+Poitiers, and then built up anew and occupied by the French monarchs in
+the reign of Charles VI. It was he who built the first _chateau de
+plaisance_ here in which the royal family might live near Paris and yet
+amid a sylvan environment.
+
+After this came the country-house of the Archbishops of Paris that Henri
+II, when he tired of it, tore down and erected a villa in the
+pseudo-Italian manner of the day, and built a fourteen-arch stone bridge
+across the Seine, which was a wonder of its time.
+
+The banker Gondi, after huddling close to royalty, turned over an
+establishment which he had built to Catherine de Médici, who made use of
+it whenever she wished to give a country fête or garden party. By this
+time the whole aspect of Saint Cloud was royal.
+
+It was within this house that the unhappy, and equally unpopular, Henri
+III was cut down by the three-bladed knife of the monk Jacques Clément.
+The incident is worth recounting briefly here because of the rapidity
+with which history was made by a mere fanatical knife-thrust. With the
+death of Henri III came the extinction of the House of Valois.
+
+As the king sat in the long gallery of the palace playing at cards, on
+August 1, 1589, his cloak hanging over his shoulder, a little cap with a
+flower stuck in it perched over one ear, and suspended from his neck by
+a broad blue ribbon a basketful of puppies, an astrologer by the name of
+Osman was introduced to amuse the royal party.
+
+"They tell me you draw horoscopes," remarked the king.
+
+"Sire, I will tell yours, if you will, but the heavens are
+unpropitious."
+
+       *       *       *       *       *
+
+"Just over Meudon is a star which shines very brightly," continued the
+astrologer, "it is that of Henri de Navarre. But look, your Majesty,
+another star burns brilliantly for a moment and then disappears, mayhap
+it is your own."
+
+"If ever a man had a voice hoarse with blood it is that astrologer,"
+said the king. "Away with him."
+
+"If the Valois Henri doesn't die before the setting of another sun, I'll
+never cast horoscope more," said the astrologer as he was hustled across
+the courtyard and out into the highroad.
+
+As he left, a man in a monk's garb begged to be admitted to the king's
+presence. It was Jacques Clément, the murderous monk, a wily Dominican,
+bent on a mission which had for its object the extinction of the Valois
+race.
+
+While the king was reading a letter which the monk had presented the
+latter stabbed him deep in the stomach.
+
+Swooning, the king had just time to cry out: "_Ha! le mechant moine: Il
+m'a tué, qu'on le tue._"
+
+The murderer in turn was struck down forthwith and his body, thrown from
+the windows of the palace, was _écartelé_ by four white horses, which is
+the neat French way of saying "drawn and quartered."
+
+It was an imposing cortège which wound down from the heights of Saint
+Cloud and followed the river bank to Saint Germain, Poissy and thence to
+Compiègne, conveying all that was mortal of Henri III, the least popular
+of all the race of Valois. Following close behind the bier were Henri IV
+and his suite, the favourites d'Epernon, Laschant, Dugastz and an
+impressive soldiery.
+
+After the death of Henri III, Henri de Navarre, who played a not
+unpicturesque part in the funeral ceremonies, installed himself in a
+neighbouring property known as the Maison du Tillet. Thus it is seen
+that the royal stamp of the little bourg of Saint Cloud was never
+wanting--not until the later palace and most of the town were drenched
+with kerosene and set on fire by the Prussians in 1871.
+
+The "Maison de Gondi" came, by a process of acquisition, and
+development, in time, to be the royal palace of Saint Cloud. Its
+overloaded details of Italian architecture were brightened up a bit by
+the surroundings planned and executed by the landscapist Le Notre and
+the life of the court in its suburban retreat took on a real and genuine
+brilliance which under the restraint of the gloomy walls of the Louvre
+and Paris streets could hardly have been.
+
+The brightest light shining over Saint Cloud at this time was the
+radiance shed by the brilliant Henriette d'Angleterre. Her reign as a
+social and witty queen of the court was brief. She died at the age of
+twenty-six, poisoned at the instigation of the Chevalier de Lorraine
+whom she had caused to be exiled. This was the common supposition, but
+Louis XIV was afterwards able to prove (?) his brother innocent of the
+crime.
+
+The gazettes of the seventeenth century recount many of the fêtes given
+at Saint Cloud by Monsieur on the occasion of his marriage to the
+Princesse Palatine in 1671. One of the most notable of these was that
+given for Louis XIV, wherein the celebrated cascades--an innovation of
+Le Notre--were first brought to view.
+
+Mansart was called in and a great gallery intended for fêtes and
+ceremonies was constructed, and Mignard was given the commission for its
+decorations.
+
+Monsieur died within the walls of the palace to which he had added so
+many embellishments, as also did his second wife. Three royalties dead
+of ambition, one might well say, for their lives were neither tranquil
+nor healthful. They went the pace.
+
+The regent journeyed out from Paris to this riverside retreat to receive
+the Tzar Peter in 1717, and in 1752 Louis Philippe d'Orleans set about
+to give a fête which should obscure the memory of all former events of a
+like nature into oblivion. How well he succeeded may be a matter of
+varying opinion, for the French have ever been prodigally lavish in the
+conduct of such affairs. At all events the occasion was a notable one.
+
+The predilection of royalty for Saint Cloud was perhaps not remarkable,
+all things considered, for it was, and is, delightfully environed, and
+about this time the Duc d'Orleans secretly married the Marquise de
+Montesson and installed her in a habitation the "_plus simple_," a mere
+shack, one fancies, costing six millions. The _nouveau riche_ of to-day
+could scarcely do the thing with more _éclat_.
+
+The Revolution took over the park of Saint Cloud and its appurtenances
+and donated them to the democracy--"for the pleasure of the people,"
+read the decree.
+
+On the eighteenth Brumaire, the First Republic blinked itself out in
+the Palais de Saint Cloud, and the Conseil de Cinq Cents installed
+itself therein under the Directoire. Bonaparte, returning from Egypt,
+arrived at Saint Cloud just as Lemercier was dissolving the Conseil.
+Seeing trouble ahead he commanded Murat to clear the chamber by drawn
+bayonets. He kept his light shining just a bit ahead of the others, did
+Napoleon. His watchword was initiative. Deputies clambered over each
+other in their haste to escape by stairway, door and window, and
+Bonaparte saw himself Consul without opposition--for ten years--for
+life.
+
+The royal residences were put at Napoleon's disposition and he wisely
+chose Saint Cloud for summer; Saint Cloud the cradle of his powers. As a
+restorer and rebuilder of crumbling monuments Napoleon was a master, as
+he was in the destructive sense when he was in the mood, and changes and
+additions were made at Saint Cloud which for comfort and convenience put
+it in the very front rank of French royal residences.
+
+In March, 1805, Pope Pius VII baptised, amid a grand pomp and ceremony,
+in the chapel of the palace, the son of Louis Bonaparte, and five years
+afterwards (April 1, 1810), the same edifice saw the religious marriage
+of Napoleon with Marie Louise.
+
+On March 31, 1810, a strange animation dominated all the confines of the
+palace. It was the occasion of the celebration of Napoleon's civil
+marriage with Marie Louise. They did not enter the capital until three
+days later for the ceremonial which united the daughter of the emperors
+who were descendants of the Roman Cæsars, to the "Usurper," who was now
+for the first time to rank with the other crowned heads of Europe.
+
+The cortège which accompanied their majesties from Saint Cloud to Paris
+was a pageant which would take pages to describe. The reader of these
+lines is referred to the impassioned pages of the works of Frederic
+Masson for ample details.
+
+A hundred thousand curiosity seekers had come out from Paris and filled
+the alleys of the park to overflowing. Music and dancing were on every
+hand. Mingled with the crowd were soldiers of all ranks brilliantly clad
+in red, blue and gold. "These warriors were a picturesque, obtrusive
+lot," said a chronicler; "after having invaded Austria they acclaim the
+Austrian."
+
+In 1815 the capitulation of Paris was signed at Saint Cloud. The gardens
+were invaded by a throng which gave them more the aspect of an
+intrenched camp than a playground of princes. A brutal victor had
+climbed booted and spurred into the bed of the great Napoleon and on
+arising pulled the bee-embroidered draperies down with him and trampled
+them under foot. Was this a proper manifestation of victory?
+
+[Illustration: _The Gardens of Saint Cloud_]
+
+At this period another great fête was given in the leafy park of Saint
+Cloud, a fête which French historians have chiefly passed over silently.
+The host on this occasion was the Prince of Schwartzenburg; the
+principal guests the foreign sovereigns, gloating over the downfall of
+the capital.
+
+Louis XVIII, after removing the traces of this desolate invasion, took
+up his residence here on June 18, 1817, and in the following year built
+the stables and the lodgings of the Gardes du Corps. In 1820 the chapel
+begun by Marie Antoinette was finished and the Jardin du Trocadero
+constructed.
+
+Charles X in his brief reign built, on the site of an old Ursulin
+convent, further quarters intended for the personnel of the court. The
+ensemble ever took on an increasing importance. At this time were laid
+out the gardens between the cascades and the river, which, to some
+slight extent, to-day, suggest the former ample magnificence of the park
+as it faced upon the river. Leading through this lower garden was the
+Avenue Royale extending to the chateau.
+
+Saint Cloud for Charles X, in spite of his first interest therein, could
+have been but an unhappy memory for here he signed the abdication which
+brought about his fall. He left his palace at Saint Cloud on July 30,
+1830, at three o'clock in the morning, just as day was breaking through
+the mists of the valley. He succumbed, the last of the Bourbons, on the
+same spot on which Henri IV, as chief of the house, had first been
+saluted as king.
+
+Louis Philippe divided his time between Neuilly and Saint Cloud, and
+lent his purse and his enthusiasm to elaborating to a very considerable
+extent both the palace and its surroundings.
+
+Napoleon III made Saint Cloud his preferred summer residence, and was
+actually beneath the palace roof when the Prussian horde commenced its
+march on the capital of Clovis. He left Saint Cloud on July 27, to take
+personal command of the Army of the Rhine at Metz.
+
+As did Charles X, Napoleon III ceased to be sovereign of the French by
+enacting the final scene in his royal career in the Palais de Saint
+Cloud. Never again was the palace to give shelter to a French monarch.
+The empress left precipitately after the disaster of Woerth, and two
+months after the torch of arson made a ruin of all the splendour of the
+palace and its dependencies. The inhabitants of the little city, which
+had grown up around the confines of the palace, fled in refuge to
+Versailles during the armistice. Scarcely an old house was preserved in
+all the town.
+
+Among the _chefs d'oeuvres_ of art which perished in the flames were
+the fine works of Mignard--above all, the magnificent Galerie
+d'Apollon--the paintings of LeMoyne, Nacret, Leloir, the marines of
+Joseph Vernet and innumerable objects of art which had been gathered
+together for the embellishment of Saint Cloud by the later monarchs.
+Some few treasures were saved by the care of the Crown Prince of
+Prussia, and some vases, chairs and statues were appropriated and packed
+off across the Rhine as the plunder of war.
+
+The park of Saint Cloud to-day contains nearly four hundred hectares,
+the public park and the "preserve." From it spreads out one of the
+loveliest panoramas in the neighbourhood of Paris, alleyed vistas
+leading seemingly to infinity, with a sprinkling of statues still
+flanking the Jardin du Trocadero.
+
+From the town one enters the park through a great iron gate from the
+Place Royale, or by the Avenue du Chateau, which lands one on the
+terraces where once stood the royal palace.
+
+From Ville d'Avray and from Sevres there are also entrances to the great
+park, while to the latter runs an avenue connecting the "preserve" of
+Saint Cloud with the wilder, more rugged Bois de Meudon.
+
+Actually the surroundings of Saint Cloud's great park are the least bit
+tawdry. Here and there are booths and tents selling trashy souvenirs,
+and even more unpleasant-looking articles of food and drink, while
+fringing the river, and some of the principal avenues approaching the
+cascade, are more pretentious restaurants and eating houses which are
+royal in name and their prices if nothing else.
+
+The cascades are for the masses the chief sight of Saint Cloud to-day.
+Historical souvenir plays little part in the minds of those who only
+visit a monumental shrine to be amused, and so the falling waters of
+Saint Cloud's cascade, like the gushing torrents of Versailles'
+fountains, are the chief incentives to a holiday for tens of thousands
+of small Paris shopkeepers who do not know that a royal palace was ever
+here, much less that it had a history.
+
+There is an upper and a lower cascade, an artificial water ingeniously
+tumbled about according to the conception of one Lepaute, an architect
+of the time of the reign of Louis XIV.
+
+[Illustration: _The Cascades at Saint Cloud_]
+
+Mansart designed the architectural attributes of the lower cascade and
+scores considerably over his colleague. Circular basins and canals
+finally lead the water off to a still larger basin lower down where it
+spouts up into the air to a height of some forty odd metres at a high
+pressure. This is the official description, but it is hard to get up any
+sympathy or enthusiasm over the thing, either considered as a work of
+art or as a diversion. Frankly, then, Saint Cloud's chief charm is its
+site and its dead and half-forgotten history. The "Tramp Abroad" and
+"Rollo" and "Uncle George" knew it better than we, because in those days
+the palace existed in the real, whereas we take it all on faith and
+regret (sometimes) that we did not live a couple of generations ago.
+
+Bellevue, on the banks of the Seine, just before reaching Saint Cloud,
+owes its origin (a fact which the great restaurant of the Pavillon Bleu
+has made the most of in its advertisements), to a caprice of Madame de
+Pompadour. She liked the point of view (as do so many diners on the
+restaurant terrace to-day), and built a "_rendezvous-chateau_" on the
+hillside, a half-way house, as it were, where Louis XV might be at his
+ease on his journeyings to and from the capital.
+
+The Pompadour was able to borrow a force of eight hundred workmen from
+the king for as long as was necessary to carry out her ambitious
+projects at Bellevue and on November 25, 1750, she had a house-warming
+in her modest villa (demolished in 1794) and _pendit la cremaillère_
+with a ceremony whose chief entertainment was the dancing of a ballet
+significantly entitled "L'Amour Architect."
+
+Neighbouring upon Saint Cloud is a whole battery of hallowed, historical
+spots associated with the more or less royal dwellings of the French
+monarchs and their favourites. It was but a comparatively short distance
+to Versailles, to Saint Germain, to Maintenon and to Rambouillet, and
+the near-by Louveciennes was literally strewn with the most charming
+country-houses, which, in many cases, kings paid for and made free use
+of, though indeed the accounts for the same may not have appeared in the
+public budgets, at least not under their proper names.
+
+At the summit of the hill which gives the town its name was a chateau
+belonging originally to Madame la Princesse de Conti, and opposite the
+railway station of to-day, with its prosaic and unlovely surroundings,
+was a magnificent property belonging to Maréchal Magnan, and the
+Pavillon du Barry, built by the architect Ledoux to the orders of Louis
+XV, who would provide a convenient nest in the neighbourhood of Saint
+Cloud for his latest favourite. To-day the pavilion exists in name,
+somewhat disfigured to be sure, but still reminiscent of its former
+rather garish outlines, so on the whole it cannot be said to have
+suffered greatly from an esthetic point of view. The property came
+finally to be included as a part of the estate of Pierre Laffitte,
+though still known, as it always has been, as the Pavillon du Barry.
+
+
+
+
+CHAPTER XV
+
+VERSAILLES: THE GLORY OF FRANCE
+
+   "_Glorieuse, monumentale et monotone
+   La façade de pierre effrite, au vent qui passe
+   Son chapiteau friable et sa guirlande lasse
+   En face du parc jaune ou s'accoude l'automne._
+          *       *       *
+   _Mais le soleil, aux vitres d'or qu'il incendie
+   Y semble rallumer interieurement
+   Le sursaut, chaque soir de la Gloire engourdi._"
+
+
+These lines of Henri de Régnier explain the aspect of the Versailles of
+to-day better than any others ever written.
+
+Versailles is a medley of verdure, a hierarchy of bronze and a forest of
+marble. This is an expression full of anomalies, but it is strictly
+applicable to Versailles. Its waters, jets and cascades, its monsters,
+its Tritons and Valhalla of marble statues set off the artificial
+background in a manner only to be compared to a stage setting--a
+magnificent stage setting, but still palpably unreal.
+
+Yes, Versailles is sad and grim to-day; one hardly knows why, for its
+memories still live, and the tangible evidences of most of its great
+splendour still stand.
+
+   "_Voici tes ifs en cone et tes tritons joufflus
+   Tes jardins composés où Louis ne vient plus,
+   Et ta pompe arborant les plumes et les casques._"
+
+It is not possible to give here either an architectural review or a
+historical chronology of Versailles; either could be made the _raison
+d'être_ for a weighty volume.
+
+The writer has confined himself merely to a more or less correlated
+series of patent facts and incidents which, of itself, shows well the
+futility of any other treatment being given of a subject so vast within
+the single chapter of a book.
+
+The history of Versailles is a story of the people and events that
+reflected the glory and grandeur of the Grand Monarque of the Bourbons
+and made his palace and its environs a more sublime expression of
+earthly pomp than anything which had gone before, or has come to pass
+since.
+
+Versailles, after its completion, became the perfect expression of the
+decadence and demoralization of the old régime. It can only be compared
+to the relations between du Barry and the young Marie Antoinette, who
+was all that was contrary to all for which the former stood.
+
+That the court of Louis XV was artificially brilliant there is no doubt.
+It was this that made it stand out from the sombre background of the
+masses of the time. It was a dazzling, human spectacle, and Versailles,
+with its extravagant, superficial charms, carried it very near to the
+brink of ruin, though even in its most banal vulgarities there was a
+certain sense of ambitious sincerity. The people of the peasant class
+lived as animals, "black, livid and scorched by the sun." The sense of
+all this penetrated readily even to Versailles, so that La Pompadour or
+Louis, one or the other of them, or was it both together, cried out
+instinctively: "_Apres nous le deluge._"
+
+The intricacies of the etiquette of the daily life of the king, his
+follies and fancies, made the history of Versailles the most brilliant
+of that of the seventeenth and eighteenth centuries--certainly it was
+the most opulent. The manners of the time were better than the morals,
+and if good taste in art and architecture had somewhat fallen there is
+no doubt but that a charming fantasy often made up for a lack of
+estheticism.
+
+The story of the palace, the park, the king and his court are so
+interwoven that no _résumé_ of the story of one can ignore that of any
+of the others. The king and court present themselves against this
+background with an intimacy and a clearness which is remarkable for its
+appeal to one's curiosity. It is a long, long day of life which begins
+with the _petit lever_ and only ends with the _grand coucher_.
+
+If there was ever a Castle of Indolence and Profligacy it was
+Versailles, though indeed it is regarded as the monarchy's brilliant
+zenith. The picture is an unforgetable one to any who have ever read its
+history or seen its stones.
+
+In the year 1650, Martial de Lomenci, one of the ministers of Charles
+IX, was the Seigneur of Versailles, but at the will of Catherine de
+Médici he was summarily strangled that she might get possession of the
+property and make a present of it to her favourite, Albert de Gondi,
+Maréchal de Retz.
+
+About 1625 Louis XIII had caused a small hunting pavilion to be built
+near by and, by degrees, acquiring more land took it into his head to
+erect something more magnificent in the way of a country-house, though
+the real conception of a suburban Paris palace only came with Louis XIV.
+
+Levau, the latter's architect, made the necessary alterations to the
+structure already existing, and little by little the more magnificent
+project known in its completed form to-day was evolved. War not being
+actually in progress, or imminent, great bodies of soldiery were set at
+work with pick and shovel, and at one time thirty thousand had laid
+aside their sabres and muskets for the more peaceful art of
+garden-making under the direction of Le Notre.
+
+In three decades the sum total of the chief roll of expenses of the
+palace and its dependencies reached eighty-one million, one hundred and
+fifty-one thousand, four hundred and fourteen _livres_, nine _sols_ and
+two _deniers_. It is perhaps even more interesting to know that of this
+vast sum more than three millions went for marble, twenty-one millions
+for masonry, two and a half millions for the rougher woodwork and a like
+sum for marquetry. Other additional "trifling" embellishments of
+Versailles and the Trianon during the same period counted up another six
+million and a half.
+
+The expense of these works was enormous on all sides. Water being
+required for the purpose of supplying the fountains it was proposed that
+the waters of the Eure should be turned from their original bed and made
+to pass through Versailles, and the enterprise was actually begun.
+Beyond the gardens was formed the Little Park, about four leagues
+around, and beyond this lay the Great Park, measuring twenty leagues
+around and enclosing several forest villages. The total expenses of
+these works may never have been exactly known, but they must have been
+immense, that is certain, and have even been estimated at as much as one
+billion francs. The works were so far completed in 1664 that the first
+Versailles fête was given to consecrate the palace. In honour of this
+event Molière composed "La Princesse d'Elide."
+
+The improvements, however, were continued, and in 1670, Levau, dying,
+was succeeded by his nephew, Jules Hardouin Mansart, who wished to
+destroy the chateau of Louis XIII and erect one uniform building. Louis
+XIV, out of respect to his father, would not allow Mansart's project to
+be carried out and therefore alterations were only made in the court by
+surrounding it on the western side with the magnificent buildings now
+forming the garden front. The southern wing was subsequently added for
+the accommodation of the younger members of the royal family. In 1685
+the northern wing was erected to meet the requirements of the attachés
+of the court. The chapel was commenced in 1699 and finished in 1710.
+
+Louis XIV took up his residence in the palace in 1681 with Madame de
+Montespan, and, thirty-five years afterwards, died there, the reigning
+favourite then being Madame de Maintenon. During this time Versailles
+was the theatre of many extraordinary scenes. Louis XV was born here
+but did not take up his residence here until after he was of age. Here
+it was that his favourites Madame de Chateauroux, Madame de Pompadour
+and Madame du Barry found themselves most at home. It was under the
+direction of this monarch that the theatre was built in the northern
+wing, and was formally opened on the occasion of the marriage of the
+dauphin, Louis XVI, in 1770.
+
+Towards the end of the reign of Louis XV a new wing and pavilion were
+added on the northern side of the principal court, and it was proposed
+to build across the court a new front in the same uniform style. The
+idea could not be carried out in consequence of the troublous times of
+Louis XVI and the enormous estimated expense. The Revolution intervened
+and Versailles remained closed until it was reopened by the first
+Napoleon, who, however, was unable to take up his residence in it on
+account of his frequent campaigns afield.
+
+At the Restoration Louis XVIII, as the representative of the ancient
+monarchy, wished to make Versailles the seat of the court, but was
+deterred from doing so by the appalling previous expense. During the
+reigns of both Napoleon and Louis XVIII considerable sums were expended
+in its refurbishing so that it was not wholly a bygone when finally the
+French authorities made of it, if not the chief, at least the most
+popular _monument historique_ of all France.
+
+And yet the aspect of Versailles is sadly wearying. To-day Versailles is
+lonely; one is haunted by the silence and the bareness, if not actual
+emptiness. Only once in seven years does the old palace take on any air
+of the official life of the Republic, and that is when the two
+legislative bodies join forces and come to Versailles to vote for the
+new president. For the rest of the time it is deserted, save for the
+guardians and visitors, a memory only of the splendours imagined and
+ordained by Louis XIV.
+
+For nearly a century the master craftsmen of a nation conspired to its
+beatification, and certainly for gorgeousness and extravagance
+Versailles has merited any encomiums which have ever been expended upon
+it. It was made and remade by five generations of the cleverest workers
+who ever lived, until it took supreme rank as the greatest storehouse of
+luxurious trifles in all the world.
+
+One wearies though of the straight lines and long vistas of Versailles,
+the endless repetition of classical motives, which, while excellent,
+each in its way, do pall upon one in an inexplicable fashion. It
+possesses, however, a certain dignity and grace in every line. This is a
+fact which one can not deny. It is expressive of--well, of nothing but
+Versailles, and the part it played in the life of its time.
+
+The millions for Versailles were obtained in ways too devious and
+lengthy to follow up here. Even Louis XIV began to see before the end
+the condition into which he had led the nation, though he punished every
+one who so much as hinted at his follies. Vauban, "the hero of a hundred
+sieges," published a book on the relations between the king and court
+and the tax-paying masses and was disgraced forever after, dying within
+a few months of a broken heart that he should have been so impotent in
+attempting to bring about a reform.
+
+The life of the king at Versailles had little of privacy in it. From his
+rising to his going to bed he was constantly in the hands of his valets
+and courtiers, even receiving ambassadors of state while he was still
+half hidden by the heavy curtains of his great four-poster. They had
+probably been waiting hours in the Salon de l'OEl de Boeuf before
+being admitted to the kingly presence.
+
+It was at this period that Michael Chamillard, the Minister of War,
+introduced billiards into France by the way of Versailles. He played
+with Louis XIV and pleased him greatly, but Chamillard was no
+statesman, as history and the following lines from his epitaph point
+out.
+
+   "_Ci git le fameux Chamillard
+   De son Roy le pronotaire
+   Qui fut un heros au billard
+   Un zero dans le Ministère._"
+
+This apartment of the OEil de Boeuf was the ancient Cabi du Conseil.
+It is a wonderfully decorated apartment, and its furnishings, beyond
+those which are actually built into the fabric, are likewise of a
+splendour and good taste which it is to be regretted is not everywhere
+to be noted in the vast palace of Louis XIV. The garnishings of the
+chimney-piece alone would make any great room interesting and well
+furnished, and the great golden clock, finely chiselled and brilliantly
+burnished, is about the most satisfactory French clock one ever saw,
+marking, as it does, in its style, the transition between that of Louis
+XIV and Louis XV.
+
+Versailles, in many respects, falls far short to-day of the ideal; its
+very bigness and bareness greatly detract from the value of the historic
+souvenir which has come down to us. Changes could undoubtedly be made to
+advantage, and to this point much agitation has lately been directed,
+particularly in cutting out some of the recently grown up trees which
+have spoiled the classic vistas of the park, and the removal of those
+ugly equestrian statues which the Monarchy of July erected.
+
+Versailles only came under Napoleon's cursory regard for a brief moment.
+He hardly knew whether he would care to make his home here or not, but
+ordered his architects to make estimates for certain projects which he
+had conceived and when he got them was so staggered at their magnitude
+that he at once threw over any idea that he may have had of making it
+his dwelling.
+
+The Revolution had stripped the palace quite bare; no wonder that the
+emperor balked at the cost of putting it in order. Napoleon may have had
+his regrets for he made various allusions to Versailles while exiled at
+Saint Helena, but then it was too late.
+
+Louis Philippe took a matter-of-fact view of the possible service that
+the vast pile might render to his family and accordingly spent much
+money in a great expanse of gaudy wall decorations which are there
+to-day, thinking to make of it a show place over which might preside the
+genius of his sons.
+
+These acres of meaningless battle-pieces, Algerian warfare and what not
+are characteristic of the "Citizen-King" whose fondness for red plush,
+green repp and horsehair sofas was notable. What he did at Versailles
+was almost as great a vandalism against art as that wrought by the
+Revolution.
+
+Last scene of all:--Under Lebrun's magnificent canopied ceiling, where
+the effigy of Louis XIV is being crowned by the Goddess of Glory, and
+the German eagle sits on a denuded tree trunk screaming in agony and
+beating his wings in despair, William of Prussia was proclaimed Emperor
+of United Germany. It was almost as great an indignity as France ever
+suffered; the only greater was when the Prussians marched through the
+Arc de Triomphe de l'Étoile. That was, and is, the Frenchman's--the
+Parisian's, at all events--culminating grief.
+
+The apartment referred to is the Grand Galerie des Glaces (or Galerie
+Louis XIV), which is accredited as one of the most magnificently
+appointed rooms of its class in all the world. It is nearly two hundred
+and fifty feet in length, nearly forty feet in width, and forty-three
+feet in height. It is lighted by seventeen large arched windows, which
+correspond with arched niches on the opposite wall filled with
+mirrors--hence the name.
+
+Sixty Corinthian columns of red marble with bases and capitals of gilt
+bronze fill up the intervening wall spaces. The vaulted ceiling by
+Lebrun is divided into eighteen small compartments and nine of much
+larger dimensions, in which are allegorically represented the principal
+events in the history of Louis XIV, from the Peace of the Pyrenees to
+that of Nymeguen.
+
+It was in this splendid apartment that Louis XIV displayed the grandeur
+of royalty in its highest phase and such was the luxury of the times,
+such the splendour of the court, that its immense size could hardly
+contain the crowd of courtiers that pressed around the monarch.
+
+Several splendid fêtes took place in this great room, of which those of
+the marriage of the Duc de Bourgogne in 1697 and that given on the
+arrival of Marie Antoinette were the most brilliant.
+
+Following are three pen-pictures of this historic palace.
+
+THE VERSAILLES OF LONG AGO. It was to Versailles that the _Grand Roi_
+repaired after his stern chase of the Spaniards across Flanders; through
+the wood of Saint Germain and over those awful cobblestones which
+Parisians know so well to-day rolled the gilded _carrosse_ of the king.
+He had already been announced by a runner who had also brought news of
+the latest victory. Courtiers and populace alike crowded the streets of
+the town in an effort to acquire a good place from which to see the
+arrival of the king. Intendants and servitors were giving orders on all
+sides, frequently contradictory, and gardeners were furbishing up the
+alleyed walks and flower beds in readiness for _Sa Majesté Louis
+Quatorze_ and all his little world of satellites. A majestic
+effervescence bubbled over all, and the _bourgeoisie_ enjoyed itself
+hugely, climbing even on roof-tops and gables in the town without the
+palace gates.
+
+The _Roi Soleil_ came at last to his "well-beloved city of Versailles."
+"He arrived in a cloud of golden dust," said a writer of the time, and
+any who have seen Versailles blazing and treeless in the middle of a
+long, hot summer, will know what it was like on that occasion.
+
+Cannons roared, and the sound of revelry and welcoming joy was
+everywhere to be heard.
+
+THE VERSAILLES OF YESTERDAY. The lugubrious booming of cannons came
+rolling over the meanderings of the Seine from the capital. The
+hard-heads of Paris would understand nothing; they would make flow
+never-ceasing rivers of blood. The national troops were well-nigh
+impotent; it was difficult to shoot down your own flesh and blood at any
+time; doubly so when your native land has not yet been evacuated by a
+venturesome enemy. It was the time of the Commune. Traffic at
+Versailles was of that intensity that circulation was almost impossible.
+In spite of a dismal April rain the town was full of all sorts and
+conditions of men. The animation of the crowd was feverish, but it was
+without joy. A convoy of prisoners passed between two lines of soldiers
+with drawn bayonets. They were Frenchmen, but they were Communards. It
+was but a moment before they were behind the barred doors of the
+barracks which was to be their prison, packed like a troop of sheep for
+the slaughter. Versailles itself, the palace and the town, were still
+sad. The rain still fell in torrents.
+
+THE VERSAILLES OF TO-DAY. Roses, begonias, geraniums, the last of a long
+hot summer, still shed their fragrant memories over the park of
+Versailles. In the long, sober alleys a few leaves had already dropped
+from the trees above, marking the greensward and the gravel like a
+_tapis d'orient_, red and green and gold.
+
+Flora and Bacchus in their fountains seemed less real than ever before,
+more sombre under the pale, trickling light through the trees. A few
+scattered visitors were about, sidling furtively around the Trianon, the
+Colonnade and the _Bosquet d'Apollon_; and the birds of the wood were
+even now bethinking of their winter pilgrimage. Versailles was still
+sad. The last rays of the setting sun shot forth reflected gold from the
+windows of the chateau and soon the silver blue veil of a September
+twilight came down like a curtain of gauze.
+
+Versailles, the Versailles of other days, is gone forever. Who will
+awaken its echoes in after years? When will the Trianon again awake with
+the coquetries of a queen? When will the city of the _Roi Soleil_ come
+again into its own proud splendour?
+
+The sun has set, the great iron gates of the courtyard are closed, the
+palace and all therein sleeps.
+
+"_Allon nous en d'ici: laissons la place aux ombres._"
+
+
+
+
+CHAPTER XVI
+
+THE GARDENS OF VERSAILLES AND THE TRIANONS
+
+
+Versailles without its court of marble, its fountains, its gardens and
+its park, and the attendant Grand and Petit Trianons, would hardly have
+the attraction that it has to-day.
+
+The ensemble is something of more vast and varied extent than is to be
+seen elsewhere, though its aspect has somewhat changed from what it was
+of old, and the crowds of Sunday and holiday visitors give the courts
+and alleyed walks somewhat the aspect of a modern amusement resort.
+
+The gardens of Versailles were but the framing of a princely dwelling
+created to respond to the requirements of a court which was attempting
+to do things on a grand scale. Everything was designed with most
+magnificent outlines; everything was royal, in all verity--architecture,
+garden-making, fêtes, receptions and promenades. What setting, then,
+could have been more appropriate to the life of the times?
+
+Versailles, the town, had never prospered, and has never proved
+sufficiently attractive to become a popular suburb; and, though to-day
+it passed the mark of half a hundred thousand population, it never would
+have existed at all had it not been for the palace of Louis XIV.
+
+Were it not for the palace and its attributes, Versailles would have
+absolutely no memories for visitors, except such as may have lunched
+well at the Hotel des Reservoirs or the Hotel du Trianon. That is not
+everything, to be sure; but it is something, even when one is on an
+historic pilgrimage.
+
+Even in the day of Louis XVI the popular taste was changing and
+Versailles was contemptuously referred to as a world of automota, of
+cold, unfeeling statuary and of Noah's Ark trees and forests. There was
+always a certain air of self-satisfaction about it, as there is, to-day,
+when the Parisian hordes come out to see the waters play, and the
+sight-seers marvel at the mock splendour and the scraps of history doled
+out for their delectation by none-too-painstaking guardians.
+
+In spite of all this, no sober-minded student of art or history will
+ever consider Versailles, the palace and the park, as other than a
+superb and a spectacular demonstration of the taste of the times in
+which it was planned, built and lived in.
+
+Versailles was begun in 1624 by Louis XIII, who built here a humble
+hunting-lodge for the disciples of Saint Hubert of whom he was the royal
+head. So humble an erection was it that the monarch referred to it
+simply as a "_petite maison_" and paid for it out of his own pocket, a
+rare enough proceeding at that epoch.
+
+The critical Bassompierre called it a "_chetif chateau_," and
+Saint-Simon referred to it as a "house of cards." Manifestly, then, it
+was no great thing. It was, however, a comfortable country-house,
+surrounded by a garden and a more ample park.
+
+It was not Lemercier, the presiding genius of the Louvre at this time,
+but an unknown by the name of Le Roy, whom Louis XIII chose as his
+architect.
+
+Boyceau traced the original _parterres_ with a central basin at a
+crossroads of two wide avenues. Each of the four compartments thus made
+was ornamented with _broderies_ and trimmed hedges, and the open spaces
+were ingeniously filled with parti-coloured sands, or earth. A
+_parterre_ of flowers immediately adjoined the palace and rudimentary
+alleys and avenues stretched off towards the wood. Although designed by
+Boyceau, this work was actually executed by his nephew, Jacques de
+Menours, who, with difficulty, collected his pay. His books of account
+showed that in five years, from 1631 to 1636, he had drawn but once a
+year a sum varying from fifteen hundred to four thousand _livres_ while
+in the same period the king had spent on the rest of the work at
+Versailles two hundred and thirty-eight thousand _livres_, thirty-two
+_sols_, six _deniers_, nearly one million one hundred thousand francs of
+the money of to-day.
+
+The first of the outdoor embellishments of the palace at Versailles is
+the great Cour Royale, or the Cour d'Honneur, which opens out behind the
+long range of iron gates facing upon the Place d'Armes. At the foot of
+this entrance court is an extension called the Cour de Marbre. This Cour
+de Marbre, on January 5, 1757, was the scene of the infamous attack on
+Louis XV by Damiens, just as the king was starting out for the Trianon.
+
+A thick redingote saved the king's life; but for "this mere pin-prick,"
+according to Voltaire, the monarch went immediately to bed, and five
+times in succession sought absolution for his sins. Sins lay heavy even
+on royal heads in those days.
+
+Damiens was but a thick-witted, superstitious valet, who, more or less
+persecuted by the noble employers with whom he had been in service at
+various times, sought to avenge himself, not on them, but on their king,
+as the figurehead of all that was rotten in the social hierarchy. Louis,
+heretofore known as the "Bien Aimé," had become suddenly unpopular
+because of the disastrous war against England and Germany, and his
+prodigal dissipation of public moneys.
+
+Stretching out behind the palace are the famous gardens, the
+_parterres_, the _tapis vert_, the fountains and the grand canal, with
+the park of the Trianons off to the right.
+
+Good fortune came to Louis XIV when he found André Le Notre, for it was
+he and no other who traced the general lines of the garden of the
+Versailles which was to be. He laid a generous hand upon the park and
+forest which had surrounded the manor of Louis XIII, and extended the
+garden to the furthermost limits of his ingenuity. Modifications were
+rapid, and from 1664 the _parterres_ and the greensward took on entirely
+new forms and effects. The Parterre des Reservoirs became the Parterre
+du Nord, and an alley of four rows of lindens enclosed the park on all
+sides. The Parterre à Fleurs, or the Jardin du Roy, between the chateau
+and the Orangerie, was laid out anew.
+
+By the following year the park began to take on the homogeneity which
+it had hitherto lacked. The great Rondeau, as it was called, and which
+became later the Bassin du Dragon, was excavated, and the Jardin Bas, or
+the Nouveau Parterre, with an oval depression, was also planned.
+
+[Illustration: _Cour de Marbre, Versailles_]
+
+At one end of the park was the celebrated Menagerie du Roy, where the
+rare and exotic animals collected by the monarch had "a palace more
+magnificent than the home of any other dumb animals in the world." This
+was the first period of formal garden construction at Versailles, and it
+was also the period when the first great impetus was given to sculptural
+decoration.
+
+In 1679, following a journey in Italy, Le Notre took up again the work
+on the gardens at Versailles, devoting himself to the region south of
+the palace which hitherto had been ignored. This was Le Notre's most
+prolific period.
+
+The creations at Versailles can be divided into two distinct epochs,
+that before 1670 and that coming after. After Le Notre's generous
+design, the king and queen were seemingly never satisfied with the
+endless plotting and planting which was carried on beneath the windows
+of the palace, and in many instances changed the colour schemes and even
+the outlines of Le Notre's original conceptions.
+
+The Versailles of to-day is no longer the Versailles of Louis XIII, so
+far as the actual disposition of details goes. Then there was very
+little green grass and much sand and gravel, a scheme of decoration
+which entered largely into the seventeenth century garden. This refers
+principally to the general effect, for Le Notre made much use of the
+enclosing battery of lindens, chestnuts and elms of a majestic and
+patriarchal grandeur which have since been cut and replaced by smaller
+species of trees, or not replaced at all.
+
+No sooner were the ornamental gardens planned at Versailles than the
+Potager du Roy, or fruit and vegetable garden, was created. This same
+garden exists to-day with almost its former outlines. Here a soil
+sufficiently humid, and yet sufficiently well drained, contributed not a
+little towards the success of this most celebrated of all kitchen
+gardens the world has known.
+
+The work of installing a further system of artificial drainage was
+immediately begun, and the Eaux des Suisses was created, to take the
+place of a former stagnant pool near by. Undoubtedly it was a stupendous
+work, like all the projects launched with regard to Versailles, but,
+like the others, it was brought to a speedy and successful conclusion.
+The details of the history of this royal vegetable garden are fully set
+forth in a work published in 1690 by the son of the designer, the Abbé
+Michel de la Quintinye, in two bulky volumes. "It was meet that a royal
+vegetable garden should have been designed by a 'Gentleman Gardener,'"
+said the faithful biographer in his foreword, and as such the man and
+the work are to be considered here.
+
+The work was accomplished by the combined efforts of a gracious talent
+and the expenditure of much money, put at La Quintinye's disposition by
+his royal master, who had but to put his hand deep into the coffers of
+the royal treasury to draw it forth filled with gold. Critics have said
+that La Quintinye's ability stopped with the preparation of the soil,
+and with the design of the garden, rather than with the actual
+cultivation, but at all events it was he who made the garden possible.
+
+La Quintinye adopted Arnauld d'Andilly's method of planting fruit trees
+_en espalier_ by training them against a wall-like background, and to
+accomplish this divided the garden plot, which covered an area of eight
+hectares (twenty acres), into a great number of subdivisions enclosed by
+walls, in order to multiply to as great an extent as possible the
+available space to be used for the _espaliers_. Again, these same walls
+served to shelter certain varieties which were planted close against
+them. If this Potager du Roy was not actually the first garden of its
+class so laid out, it was certainly one of the most extensive and the
+most successful up to that time.
+
+The great terraces of at least two metres in width surrounded the
+central garden, leaving a free area for the latter which approximated
+three hectares.
+
+These terraces were divided into twenty-eight compartments, forming nine
+distinct varieties of gardens.
+
+The celebrated gardener of Louis XIV sought not only to obtain fruits
+and vegetables of a superior quality and an abundant quantity, but was
+the first among his kind to produce early vegetables, or _primeurs_, in
+any considerable quantity, and, by a process of forced culture, he was
+able to put upon the table of the monarch asparagus in December, lettuce
+in January, cauliflower in March and strawberries in April. All these
+may be found at the Paris markets to-day, and at these seasons, but the
+growing of _primeurs_ for the Paris markets has become a great industry
+since the time it was first begun at Versailles.
+
+Of asparagus La Quintinye said, "It is a vegetable that only kings can
+ever hope to eat."
+
+The Potager du Roy was begun in 1678, and completed in 1683. It cost,
+all told, one million one hundred and seventy thousand nine hundred and
+eighty-three _livres_ of which four hundred and sixty-seven thousand
+three hundred and sixty-four went for constructions in brick and stone,
+walls, enclosures and drains. Its annual maintenance (1685) amounted to
+twenty thousand nine hundred and ninety-nine _livres_. The effort proved
+one of great benefit to its creator, for La Quintinye, at the completion
+of this work, received further commissions of a like nature from the
+Prince de Condé, the Duc de Montansier, Colbert, Fouquet and others.
+
+So great a marvel was this vegetable garden at Versailles that it was
+the object of a pilgrimage of the Doge of Venice in 1685, and of the
+Siamese ambassadors in the following year. The garden has been preserved
+as an adjunct to Versailles up to the present day. For two centuries its
+product went to the "Service de Bouche" of the chief of state, that is,
+the royal dinner table; but in 1875 the Minister of Agriculture
+installed there the French National Horticultural College, which to-day,
+with a widened scope, has admitted ornamental plants and trees to this
+famous garden. Nevertheless the general outlines have been preserved,
+though certain of the terraces have disappeared, as well as many of the
+walls of the original enclosure, thus reducing the number of garden
+plots; in fact but sixteen distinctly defined gardens remain, including
+the Clos aux Asperges.
+
+The general lines of the garden design of Le Notre and Boyceau at
+Versailles are to be noted to-day, but if anything the maintenance of
+the gardens is hardly the equal of what it was in the time of Louis XIV
+and a seeming disaster has fallen upon Versailles as these lines are
+being written.
+
+The military authorities have set aside, as a site for an aerostation
+camp, some twenty-five acres of the park near Rocquencourt. This is one
+of the loveliest parts, shaded by magnificent trees which, presumably,
+will have to be sacrificed, since, if left standing, they would
+certainly interfere with maneuvering with military aeroplanes,
+dirigibles and balloons.
+
+At a time when deforestation is recognized to be one of the greatest
+dangers that menace a country's prosperity, one of its consequences
+being such inundations as those which recently devastated Paris and the
+Seine valley, it is regrettable that the forest surrounding Versailles
+should be depleted.
+
+[Illustration: _The Potager du Roy, Versailles_]
+
+Furthermore, the realization of the project means a loss of revenue to
+the state which at present derives some sixty thousand francs a year
+from the farming lease of this portion of the park.
+
+Therefore, for material considerations, as well as because Versailles
+and its surroundings should be preserved intact as a noble relic of one
+of the grandest periods of French history, one of the most beautiful
+creations of French genius, the project attributed to the military
+authorities is short-sighted. To diminish the attractions of Versailles
+would certainly prove an unwise policy, as the stream of tourists, which
+is the chief source of profit to Versailles and its population, would
+inevitably be diverted to some other channel.
+
+Only a short time ago a Société des Amis de Versailles was created for
+the purpose of safeguarding its artistic and natural beauties. The
+government gave the organization its approbation and there is something
+delightfully ironical in the fact that the military authorities of the
+same government are planning to destroy what the society, fathered by
+the Ministère des Beaux Arts, was formed to preserve.
+
+Another modern aspect of the park of Versailles was noted during the
+late winter when, after a sharp freeze, all the youth of Paris had
+seemingly gone out to Versailles for the skating only to be met by a
+freshly-posted notice which read:
+
+   Defense
+   De Patiner Par
+   Arrêté du 17 Decembre, 1849
+
+
+These signs were posted here and there about the park, in the courtyard,
+on the postern gate, on trees, everywhere. The authorities were bound
+that there should be no flagrant violation of the order of 1849.
+
+"You see," said one of the park guardians, "_c'est defendu_; but as we
+are only two and the crowd is very large we can do nothing." This was
+evident. Thousands overran the Grand Canal, which at its greatest depth
+was scarcely more than a yard to the bottom, and so, despite of
+monarchial decree, Republican France still skates on the ornamental
+waters of Versailles when occasion offers.
+
+"_N'oubliez pas le petit balayeur, s'il vous plait_," was as often heard
+as "_Allez vous-en_."
+
+On the whole it was rather a picturesque sight. A thick haze hung over
+the now white "Tapis Vert," and the nude figures of the Bassin d'Apollon
+were clothed in a mantle of snow, while the white-robed statues of the
+Allée Royale, one could well believe, shivered as one passed.
+
+[Illustration: _The Bassin de Latone, Versailles_]
+
+The fountains of Versailles, the "Grands Eaux" and "Petits Eaux," which
+shoot their jets in air "semi-occasionally" for the benefit of Paris's
+"good papas" and their children, are distinctly popular features, and of
+an artistic worth neither less nor greater than most garden accessories
+of the artificial order. The fact that it costs something like ten
+thousand francs to "play" these fountains seems to be the chief memory
+which one retains of them in operation, unless it be the crowds which
+make the going and coming so uncomfortable.
+
+The Orangerie lies just below the terrace of the Parterre du Midi, and a
+thousand or more non-bearing orange trees are scattered about. They are
+descendants of fifteenth century ancestors, it is claimed--but
+doubtfully.
+
+The great basin of water known as the Eaux des Suisses was excavated by
+the Swiss Guard of Louis XIV to serve the useful purpose of irrigating
+the Potager du Roy, and as a decorative effect of great value to that
+part of the garden upon which faces the fourteen-hundred-foot front of
+the palace.
+
+Still farther off towards the Bois de Satory, after crossing the Tapis
+Vert, lie the famous Bassins de Latone and Apollon, the Bassin du
+Miroir and, finally, the Grand Canal, with one transverse branch leading
+to the Menagerie (now the government stud-farm) and the other to the
+Trianons.
+
+The satellite palaces known as the Grand and Petit Trianons are, like
+the Palace of Versailles itself, of such an abounding historical
+interest that it were futile to attempt more than a mere intimation of
+their comparative rank and aspect.
+
+The rather sprawling, one-story, horseshoe-shaped villa built by Louis
+XIV for Madame de Maintenon, and known as the Grand Trianon, was an
+architectural conception of Mansart's.
+
+It is worth remarking that the Grand Trianon, to-day, is in a more
+nearly perfect state than it has been for long past, for the
+restorations lately made have removed certain interpolations manifestly
+out of place.
+
+It is due to M. de Nolhac, the Conservateur du Musée de Versailles, that
+this happy amelioration has been brought about and that Mansart's
+admirable work is again as it was in the days of Madame de Maintenon and
+those of the later Napoleon I.
+
+[Illustration: _The Fountain of Neptune, Versailles_]
+
+In spite of all this the Trianon of to-day is not what it was in the
+eighteenth century. "Madame de Maintenon," said de Musset, "made of
+Versailles an oratory, but La Pompadour turned it into a boudoir." He
+also called the Trianon: "a tiny chateau of porcelain." It was, too, the
+boudoir of Madame de Montespan.
+
+Louis XV, too, built, or furnished, discreet boudoirs of this order on
+every hand. More than one great gallery in which his elders had done big
+things he divided and subdivided into minute apartments and papered the
+walls, or painted them, all colours of the rainbow, or hung them with
+silks or velvets.
+
+"Don't you think my little apartment shows good taste," he asked one day
+of the Comtesse de Séran at Versailles.
+
+"Not at all," she replied, "I would much rather that the walls were hung
+in blue."
+
+That particular apartment was in rose, but, since blue was the favourite
+colour of the monarch, the reply was but flattering. The next time that
+his friend, the Comtesse, appeared on the scene the apartment had all
+been done over in blue.
+
+The monarch soon began to turn his attention to the gardens. Bowers,
+labyrinths and vases and statues were inexplicably mixed as in a maze.
+He began to have the "_gout pastoral_," his biographer has said, a vogue
+that Madame du Barry and Marie Antoinette came in time to push to its
+limits.
+
+The king was too ready to admire all that was suggested, all that was
+offered, and the ultimate effect was--well, it was the opposite of what
+he hoped it to be, though doubtless he did not realize it.
+
+In the garden of the Grand Trianon is a great basin with a cascade
+flowing down over a sort of a high altar arrangement in red and white
+marble called the Buffet de l'Architecture, and evolved by Mansart. This
+architect certainly succeeded much better with his purely architectural
+conceptions than he did with interpolated decorative elements intended
+to relieve a formal landscape.
+
+The Petit Trianon, the pride of Louis XV, was designed by the architect
+Gabriel, and its reigning goddess was Marie Antoinette. Souvenirs of the
+unhappy queen are many, but the caretakers are evidently bored with
+their duties and hustle you through the apartments with scant ceremony
+that they may doze again undisturbed in their corners.
+
+[Illustration: _Petit Trianon_]
+
+The garden of the Petit Trianon is a veritable _Jardin Anglais_, that
+is, the decorative portion, where sweeps and curves, as meaningless as
+those one sees on banknotes and no more decorative, are found in
+place of the majestic lines of the formal garden when laid out after the
+French manner.
+
+[Illustration: _La Laiterie de la Reine PETIT TRIANON_]
+
+The _Hameau_, where is the dairy where the queen played housewife and
+shepherdess, is just to the rear of this bijou palace and looks stagy
+and unreal enough to be the wings and back-drop of a pastoral play.
+
+Near Versailles was the Chateau de Clagny, with a garden laid out by Le
+Notre, quite the rival of many better known. Of it Madame de Sévigné
+wrote: "It is the Palais d'Armide; you know the manner of Le Notre; here
+he has done his best."
+
+The Couvent des Recollettes, just across the Bois de Satory, was built
+by Louis XIV out of regard for the _religieux_ whom he displaced from
+an edifice which stood upon a plot which was actually needed for the
+palace gardens. The Chateaux of Noisy and Molineaux were also affiliated
+with Versailles.
+
+The rest of the surroundings and accessories of Versailles are mere
+adjunctive details of those chief features here mentioned. To catalogue
+them even would be useless since they are all set down in the
+guidebooks.
+
+
+
+
+CHAPTER XVII
+
+SAINT GERMAIN-EN-LAYE
+
+
+Saint Germain has not the popularity of Versailles, nor the charm of
+Fontainebleau, but it is more accessible than either, and, if less known
+and less visited by the general mass of tourists, it is all the more
+delightful for that.
+
+Saint Germain, the chateau, the town and the forest, possess a
+magnificent site. Behind is a wooded background, and before one are the
+meanderings of the Seine which in the summer sunlight is a panorama
+which is to be likened to no other on earth. Across the river bottom run
+the great tree-lined roadways, straight as the proverbial flight of the
+arrow, while on the horizon, looking from the celebrated terrace, one
+sees to-day the silhouetted outline of Paris with the Tour Eiffel and
+the dome of the Sacré Coeur as the culminating points.
+
+The town itself is ugly and ill-paved, and heavy-booted dragoons make a
+hideous noise as they clank along to and from the cavalry barracks all
+through the day and night. Neither are scorching automobiles making
+their ways to Trouville and Dieppe over the "Route des Quarante Sous" a
+pleasant feature. One can ignore all these things, however, for what is
+left is of a superlative charm.
+
+[Illustration: SAINT GERMAIN]
+
+Saint Germain-en-Laye in the first stages of French history was but a
+vast extent of forest which under Charlemagne came to the possession of
+the monks of the Abbaye de Saint Germain-des-Prés. The first royal
+palace here was built by King Robert in the tenth century, practically
+upon the site of the present edifice. In the eleventh century there came
+into being another royal dwelling, and in the twelfth century
+Louis-le-Gros built a chateau-fort as a protection to the royal
+residence and monastery. This did not prevent the Black Prince from very
+nearly burning them down on one of his bold raids, but by 1367, Charles
+V re-erected the "_castel_" of Saint Germain-en-Laye.
+
+The English, by coercion, induced a monk of a neighbouring establishment
+at Nanterre to deliver up a set of false keys by which the great gates
+of the castle were surreptitiously opened, and, for a time, the
+descendants of the Conqueror held possession.
+
+The establishment of Charles V in no way satisfying the artistic
+ambitions of Francis I, that monarch gave the task of reconstruction to
+the architect Pierre Chambiges, in 1539, preserving only the Saint
+Chapelle of Saint Louis and the donjon.
+
+The building must have gone forward with an extreme rapidity for at the
+architect's death, in 1544, it had reached nearly the level of the
+rooftop.
+
+Chambiges' successor was his son-in-law, Guillaume Guillain, who,
+without changing the primitive plan, completed the work in 1548.
+
+Saint Germain, above the first story, is essentially a construction of
+bricks, but the effect is even now, as Chambiges originally intended, an
+edifice with its main constructive elements of lower sustaining walls
+and buttresses of stone binding together the slighter fabric, or
+filling, above. Although it is Renaissance through and through, Saint
+Germain shows not the slightest reminiscence of anything Italian and
+must be considered entirely as an achievement of French genius.
+
+This edifice of Francis I was more a fortress than a palace in spite of
+its decorative features, and Henri II, desiring something more of a
+luxurious royal residence, began what the historians and savants know as
+the Chateau Neuf--the palace of to-day which stands high on the hill
+overlooking the winding Seine, to which seducing stream the gardens
+originally descended in terraces.
+
+Chiefly it is to Henri IV that this structure owes its distinction, for
+previously work went on but intermittently, and very slowly. Henri IV
+brought the work to completion and made the chateau his preferred and
+most prolonged place of residence, as indeed did his successor.
+
+It is the Chateau Neuf of the time of Henri IV which is to-day known as
+the Palais de Saint Germain-en-Laye. Of the Vieux Chateau only some
+fragmentary walls and piles of débris, the Pavillon Henri IV, and, in
+part, the old royal chapel remain.
+
+Actually the structure of to-day includes that part of the Hotel du
+Pavillon Henri IV which is used as a restaurant.
+
+Henri IV and Louis XIII gave Saint Germain its first great _éclat_ as a
+suburban place of sojourn, and from the comings and goings of the court
+of that time there gradually grew up the present city of twenty thousand
+inhabitants; not all of them of courtly manners, as one learns from a
+recollection of certain facts of contemporary modern history.
+
+During the days when Mazarin actually held the reins of state the court
+was frequently at Saint Germain. Louis XIV was born here, and until
+Versailles and Marly came into being he made it his principal dwelling.
+
+It was in one of the magnificent apartments, too, midway between the
+angle turrets of the façade, Louis XIII ended his unhappy existence in
+1642. His own private band of musicians played a "De Profundis" of his
+own composition to waft his soul on its long journey.
+
+The chroniclers describe one of the monarch's last conversations as
+follows: "When they transport my body to Paris after my soul has flown,
+Laporte, remember that place where the road turns under the hill; it is
+a rough road, Laporte, and will surely shake my bones sadly if the
+driver does not go slowly."
+
+Those who have journeyed out from Paris to Saint Germain by road in this
+later century will appreciate the necessity for the admonition.
+
+Louis XIV, unlike Louis XIII, detested Saint Germain beyond words,
+because the towers of the Abbaye de Saint Denis, where he was destined
+one day to be buried, were visible from the terrace. Louis XV was not so
+particular for he was so morbid that he even loved, as he claimed
+himself, the scent of new-made graves.
+
+The arrival of Anne d'Autriche and the royal family at Saint Germain
+during the war of the Fronde was one of the most dramatic incidents of
+the period. They had travelled half the night, coming from the Palais
+Royal only to find a palace awaiting them which was unheated and
+unfurnished though the time was mid-January. Always drear and gaunt it
+was immeasurably so on this occasion. Mazarin had made no provision for
+the queen's arrival; there, were neither beds, tables nor linen in their
+proper places, no servants, no attendants of any kind, only the
+guardians of the palace. The queen was obliged to take rest from her
+fatigue on a folding camp bedstead, without covering of any kind. The
+princes fared no better, actually sleeping on the floor.
+
+There were plenty of mirrors and much gold gingerbread on the walls and
+ceilings, but no furniture. The personal belongings which the court had
+brought with them were few. No one had a change of clothing even; those
+worn one day were washed the next. However the queen good-naturedly
+smiled through it all. She called it "an escapade which can hardly last
+a week."
+
+All Paris was by this time crying "_Vive la Fronde_": "_Mort à
+Mazarin_": but it proved to be something more than a little affair of a
+week, as we now know.
+
+At this period, when Anne d'Autriche was practically a prisoner at Saint
+Germain, the picture made by the old chateau against its forest
+background was undeniably more imposing than that which one sees to-day.
+The glorious forest was not then hidden by rows of banal roof-tops, and
+the dull drabs of barracks and prisons.
+
+In the warm spring mornings the glittering façade of the chateau was
+brilliant as a diamond against its setting, and the radiating avenues of
+the park leading from the famous terrace stretched out into infinite
+vistas that were most alluring. This effect, fortunately, is not wholly
+lost to-day.
+
+At night things were as idyllic as by day. The queen and her ladies,
+relieved of the dreary presence of the king who still remained at Paris,
+revelled in an unwonted freedom. Concerts, suppers and dances were the
+rule and moonlight cavalcades to the heart of the forest, or promenades
+on foot the length of the terrace, and by some romantically disposed
+couples far beyond, gave a genuine "begone, dull care" aspect to court
+life which was not at all possible in the capital.
+
+The following picture, taken from a court chronicle, might apply as well
+to-day if one makes due allowance for a refulgence of myriad lamps
+gleaming out Parisward as night draws in.
+
+"It is a rare moonlight night. The queen and her ladies have emerged
+late on the stately terrace of Henri IV which borders upon the forest
+and extends for nearly a league along the edge of the height upon which
+stands the chateau.
+
+"The queen and her brother-in-law, Gaston, Duc d'Orleans, have seated
+themselves somewhat apart from the rest beside the stone balustrade
+which overlooks the steep descent to the plain below. Vineyards line the
+hillside and the Seine flows far beneath, the fertile river-bottom rich
+with groves and orchards, villas and gardens. Still more distant sweeps
+away the great plain wrapped in dark shadows punctuated here and there
+with great splotches of moonlight. Of the great city beyond (the Paris
+of to-day, whose myriad glow-worm lights actually do lend an additional
+charm) not a vestige is to be seen. Scarcely a lantern marks the
+existence of a living soul in the vast expanse below, but the moon, high
+in the heavens, plots out the entire landscape with a wonderful
+impressiveness, and the stars topping the forest trees to the rear and
+the heights which rise on the distant horizon lend their quota of
+romanticism, and, as if by their scintillations, mark the almost
+indiscernible towers of the old Abbey of Saint Denis to the left.
+
+"'Oh, what a lovely night,' said the queen to her companion. Again it is
+the old chronicler who speaks. 'Can the world ever appear so calm and
+peaceful elsewhere?'"
+
+This Terrasse de Henri IV, so called, is one of the most splendid and
+best-known terraces in Europe, and is noted for its extent as well as
+for its marvellous point of view, the whole panorama Parisward being
+spread out before one as if on a map, a view which extends from the
+Chateau de Maisons on the left to the Aqueduct de Marly and the heights
+of Louveciennes on the right, including the Bois de Vesinet, Mont
+Valerian, Montmartre and the whole Parisian panorama as far as the
+Coteaux de Montmorency.
+
+This terrace, too, was the project and construction of Le Notre in 1672.
+It is two and a half kilometres in length and thirty metres in width,
+upheld by a stone retaining wall which is surmounted by a balustrade. It
+extends from the Pavillon Henri IV to a gun battery well within the
+confines of the forest. Entrance from the precincts of the palace is by
+the great ornamental iron gateway known as the Grille Royale, from which
+an alleyed row of lindens leads to the heart of the forest.
+
+The record of another merry party at Saint Germain is that which
+recounts that summer evening when the king and court scuttled about the
+park enjoying themselves as only royalty can--when some one else pays
+the bills. The terrace, the gravelled walks and the alleyed paths of the
+forest all led to charming and discreet rendezvous.
+
+[Illustration: _The Valley of the Seine, from the Terrace at Saint
+Germain_]
+
+So preoccupied was every one on this particular occasion that the
+merry-makers had hardly a thought for their king, who, left to his own
+devices, sought out four maids of honour gossiping in a bower, and,
+taking the mischief-loving Lauzan into his confidence, pried upon them
+in the ambush of the night. They were gossiping over the dancers at the
+ball of the night before when one of them proclaimed her fancy for the
+agility and grace of the king above all others. It was the first
+expression of "La Vallière" since she had come timidly to court. The
+rest is an idyll which is found set forth in all the history books at
+considerable length, and at this particular moment it was a genuine
+idyll, for the king had not then become the debauched roué that he was
+in later life.
+
+After Anne d'Autriche, Henriette, the widow of Charles I of England,
+found at Saint Germain a comfortable and luxurious refuge.
+
+From 1661 onward Louis XIV made frequent visits to Saint Germain and was
+so taken with the charms of the neighbourhood and the immediate site
+that he conjured six and a half million francs out of his Civil List, in
+addition to his regular stipend, for the upkeep of this palace alone.
+This was robbery: modern graft pales before this; candelabra by the
+pound and writing tables by the square yard were known before the days
+of machine politicians.
+
+James II of England, in 1688, found a hospitable refuge at Saint
+Germain, thanks to Louis XIV, and died within the palace walls in 1701,
+as did his wife, Maria d'Este, in 1718.
+
+Louis XV and Louis XVI gave Saint Germain scarce a thought, and under
+the Empire it became a cavalry school, and later, under the Restoration,
+sinking lower still, it merited only the denomination of a barracks. Its
+culminating fall arrived when it was turned into a penitentiary.
+
+Napoleon III, with finer instincts, here installed a museum, and
+restorations and rebuilding having gone on intermittently since that
+time the palace has now taken on a certain pretence to glory.
+Practically the palace in its present form is a restoration, not
+entirely a new building, but a rebuilding of an old one, first begun
+under the competent efforts of the architect Eugene Millet, who sought
+to reëstablish the edifice as it was under Francis I. The great tower
+has been preserved but the corner pavilions of the period of Louis XIV
+have been demolished in accord with the carrying out of this plan.
+
+For forty years Saint Germain has been in a state of restoration, and
+like the restoration of Pierrefonds it has swallowed up fantastic sums.
+The western façade has been rebuilt from the chapel to the entrance
+portal and the last of Mansart's pavilions, which he built to please
+either his own fancy or that of Louis XIV, have been demolished. Mansart
+himself made way with the old _tourelles_ and the balustrade which
+rounded off the angles of the walls of the main buildings and
+substituted a series of heavy, ugly _maisonettes_, more like the
+bastions of a fortress than any adjunct to a princely dwelling.
+
+The courtyard of the chateau is curiously disposed; "so that it may
+receive the sun at all times," was the claim of its designer. It, too,
+has been brought back to the state in which it was originally conceived
+and shorn of its encumbering outhouses and odds and ends which served
+their purposes well enough when it was a barracks or a prison, but which
+were a desecration to anything called by so dignified a name as a
+chateau or a palace. This courtyard is to-day as it was when the lords
+and ladies in the train of Charles IX strolled and even gambolled
+therein.
+
+The Chapelle de Saint Louis (1240) is in every way remarkable,
+especially with respect to its great rose-window, which was found by
+Millet to have been walled up by Louis XIV.
+
+The military museum of to-day, which is enclosed by the palace walls,
+possesses a remarkable collection of its kind, but has no intimate lien
+upon the history of the palace.
+
+The _parterre_ before the palace is cut off from the forest of Saint
+Germain by three ornate iron gates. It was relaid, a transformation from
+designs originally conceived in 1676, by Le Notre, modified in 1750 and
+much reduced in size and beauty in the nineteenth century, though later
+enlarged by taking three hectares of ground from the forest and turning
+them into the accepted form of an English garden.
+
+A peninsula of a superficial area of over ten thousand acres snugly
+enfolded in one of the great horseshoe bends of the Seine contains the
+Forêt de Saint Germain. A line drawn across the neck of the peninsula
+from Saint Germain to Poissy, following the Route de Poissy, completely
+cuts off this tongue of land which is as wild and wooded to-day as in
+the times of Francis, the Henris and the Louis.
+
+The _routes_ and _allées_ of the forest are traced with regularity and
+precision, and historians have written them down as of a length of
+nearly four hundred leagues, a statement which a glance at any map of
+the forest will well substantiate.
+
+High upon its plateau sits this historic wildwood, for the most part of
+a soil dry and sandy, with here and there some great _mamelon_
+(Druidical or Pagan, as the case may be) rising somewhat above the
+average level. Francis I, huntsman and lover of art and nature, did
+much to preserve this great forest, and Louis XIV in his time developed
+its system of roads and paths, "chiefly to make hunting easy," says
+history, though it is difficult to follow this. At all events the forest
+remains to-day the most extensive unspoiled breathing-spot of its class
+near Paris.
+
+Within this maze of paths and alleys are many famed historic spots, the
+Chêne Saint Fiacre, the Croix de Noailles, the Croix Saint Simon, the
+Croix du Main (erected in 1709 in honour of the son of Louis XIV), the
+Étoile des Amazones, the Patte d'Oie, the Chêne du Capitaine and many
+more which are continually referred to in the history of the palace, the
+forest of Saint Germain-en-Laye, and of the Abbaye de Poissy.
+
+The forest is not wholly separated from the mundane world for
+occasionally a faint echo of the Rouen railway is heard, a toot from a
+river tug-boat bringing coal up-river to Paris, the strident notes of
+automobile horns, or that of a hooting steam-tram which scorches along
+the principal roadway over which state coaches of kings and courtiers
+formerly rolled. The contrast is not particularly offensive, but the
+railway threatens to make further inroads, so one hardly knows the
+future that may be in store for the patriarch oaks and elms and
+chestnuts which make up this secular wildwood. Their ages may not in
+all cases approach those of the great Fontainebleau trees, and in point
+of fact the forest is by no means as solitary, nor ever was. One of the
+most celebrated, certainly one of the most spectacular, duels of history
+took place in the park at Saint Germain-en-Laye.
+
+Gui Chabot de Jarnac lived a prodigal and profligate life at the
+expense--it was said--of the favours of the Duchesse d'Étampes. The
+dauphin, Henri, making an accusation, deemed wholly uncalled for, a
+"_duel judiciaire_" took place, with La Châtaigneraie as the dauphin's
+substitute as adversary of de Jarnac who sought no apology but combat.
+
+It was because Henri meantime had become king and issued his first
+Letters Patent to his council concerning the "_duel judiciaire_,"
+whereby he absolved himself of the right to partake, that he appointed
+his dear friend François de Vivonne, "Seigneur de la Châtaigneraie," to
+play the rôle for him.
+
+Unfortunately the young man could not justify by victory the honour of
+his king and before the monarch and the assembled court he was laid low
+by his adversary.
+
+This was one of the last of the "_duels judiciaires_" in France. What
+Saint Louis and Philippe-le-Bel had vainly sought to suppress, the
+procedure having cost at least a hundred thousand _livres_, was
+practically accomplished by Henri II by a stroke of the pen.
+
+
+
+
+CHAPTER XVIII
+
+MAINTENON
+
+
+Out from Paris, on the old Route d'Espagne, running from the capital to
+the frontier, down which rolled the royal cortèges of old, lie Maintenon
+and its famous chateau, some sixty odd kilometres from Paris and twenty
+from Rambouillet.
+
+Just beyond Versailles, on the road to Maintenon, lies the trim little
+townlet of Saint Cyr, known to-day as the West Point of France, the
+military school founded by Napoleon I giving it its chief distinction.
+
+Going back into the remote past one learns that the village grew up from
+a foundation of Louis XIV, who bought for ninety-one thousand _livres_
+"a chateau and a convent for women," that Madame de Maintenon might
+establish a girls' school therein. She reserved an apartment for
+herself, and one suspects indeed that it was simply another project of
+the Widow Scarron to have a place of rendezvous near the capital.
+Certainly under the circumstances, taking into consideration the good
+that she was doing for orphaned girls, she might at least have been
+allowed the right of a roof to shelter her when she wished. She was
+absolutely dominant within, though never actually in residence for any
+length of time. It was here that "Esther" and "Athalie," which Racine
+had composed expressly for Madame de Maintenon's pensionnaires, were
+produced for the first time.
+
+[Illustration: Fauteuil _of_ Mme. _de_ Maintenon _Worked by the_
+Demoiselles _of_ Saint Cyr]
+
+When not actually living at Saint Cyr it was Madame de Maintenon's
+custom to come hither from Paris each day, arriving between seven and
+eight in the morning, passing the day and returning to town for the
+evening, much as a celebrated American millionaire journalist, whose
+country-house overlooks the famous convent garden, does to-day.
+
+Madame de Maintenon actually went into retirement at Saint Cyr upon the
+death of Louis XIV, and for four years, until her death, never left it.
+She died from old age, rather than from any grave malady, in this
+"Maison d'Education," which she had inaugurated, and was buried in the
+chapel, beneath an elaborate tomb which the Duc de Noailles, who married
+her niece, caused to be erected. The tomb was destroyed during the
+Revolution and the "Maison Royale de Saint Cyr," of which nothing had
+been changed since its foundation, was suppressed, the edifice itself
+being pillaged and the remains of Madame de Maintenon sadly profaned,
+finally to be recovered and deposited again in the chapel where a simple
+black marble slab marks them in these graven words:
+
+   Cy-Git Madame De Maintenon
+   1635-1719-1836
+
+Napoleon I established the École Militaire at Saint Cyr, from which are
+graduated each year more than four hundred subaltern officers.
+
+The ancient gardens of Madame de Maintenon's time now form the "Champs
+de Mars," or drill ground, of the military school.
+
+South from Saint Cyr runs the great international highroad, the old
+Route Royale of the monarchy. It rises and falls, but mostly straight as
+the flight of the crow, until it crosses the great National Forest of
+Rambouillet. Following the valley of the Eure almost to its headwaters
+it finally comes to Maintenon, a town of a couple of thousand souls,
+whose most illustrious inhabitant was that granddaughter of
+Theodore-Agrippa d'Aubigné, named Françoise, and who came in time to be
+the Marquise de Maintenon.
+
+The Chateau de Maintenon was royal in all but name. The Tresorier des
+Finances under Louis XI, Jean Cottereau (a public official who made good
+it seems, since he also served in the same capacity for Charles VIII,
+Louis XII, and Francis I), had a single daughter, Isabeau, who, in 1526,
+married Jacques d'Angennes, who at the time was already Seigneur de
+Rambouillet.
+
+As a dot this daughter acquired the lands of Maintenon. The property was
+afterwards sold to the Marquis de Villeray, from whom Louis XIV bought
+it in 1674 and disposed of it as a royal gift to Françoise d'Aubigné,
+the fascinator of kings, who was afterwards to become (in 1688) Madame
+La Marquise de Maintenon.
+
+This ambitious woman subsequently married her niece to the Duc d'Ayen,
+son of the Maréchal de Noailles, and as a marriage portion--or possibly
+to avoid unpleasant consequences--turned over the property of Maintenon
+to the young bride and her husband to whose family, the Noailles, it has
+ever since belonged.
+
+To-day the Duc and Duchesse de Noailles make lengthy stays in this
+delightful seigneurial dwelling, and since the apartments are full to
+overflowing of historical souvenirs of their family it may be truly said
+that their twentieth century life is to some considerable extent in
+accord with the traditions of other days.
+
+The existence of this princely residence is an agreeable reminder of the
+life of luxury of the olden time albeit certain modernities which we
+to-day think necessities are lacking.
+
+Maintenon is certainly one of the most beautiful so-called royal
+chateaux of France, if not by its actual importance at least by many of
+the attributes of its architecture, the extent of the domain and the
+history connected therewith. It bridges the span between the private
+chateau and those which may properly be called royal.
+
+In the moyen-age Maintenon was a veritable chateau-fort, forming a
+quadrilateral edifice flanked by round towers at three of its angles,
+and at the fourth by a great square mass of a donjon, all of which was
+united by a vast expanse of solidly built wall which possessed all the
+classic attributes of the best military architecture of its time.
+Entrance was only over a deep moat spanned by a drawbridge.
+
+[Illustration: _Chateau de Maintenon_]
+
+Jean Cottereau made his acquisition of the domain towards 1490 and
+immediately planned a new scheme of being for the old fortress which,
+according to a more esthetic conception, would thus be brought into the
+class of a luxurious residential chateau. He destroyed the _courtines_
+which attached the great donjon to the rest of the building, and opened
+up the courtyard so that it faced directly upon the park. He ornamented
+sumptuously the window framings, the dormer windows, and the turrets,
+and framed in the entrance portal with a series of sculptured motives
+which he also added to the entrance to the great inner stairway. In
+short it was an enlargement and embellishment that was undertaken, but
+so thoroughly was it done that the edifice quite lost its original
+character in the process. Like all the chateaux built at this epoch
+Maintenon was no longer a mere fortress, but a palatial retreat,
+luxurious in all its appointments, and shorn of all the manifest
+militant attributes which it had formerly possessed.
+
+The shell was there, following closely the original outlines, but the
+added ornamentation had effectually disguised its primordial existence.
+Living rooms needed light and air, while a fortress or quarters for
+troops might well be ordained on other lines. The Renaissance livened up
+considerably the severe lines of the Gothic chateaux of France, and
+though invariably the marks of the transition are visible to the expert
+eye it is also true, as in the case of Maintenon, that there is
+frequently a homogeneousness which is sufficiently pleasing to
+effectually cover up any discrepancies which might otherwise be
+apparent. The warrior aspect is invariably lost in the transition, and
+thus a Renaissance residential chateau enters at once into a different
+class from that of the feudal fortress regardless of the fact that such
+may have been its original status.
+
+The armorial device of Jean Cottereau--three unlovely lizards blazoned
+on a field of silver--is still to be seen sculptured on the two towers
+flanking the entrance portal which to-day lacks its old drawbridge
+before mentioned. Surrounding the edifice is a deep, unhealthful,
+mosquito-breeding moat which is all a mediæval moat should be, but which
+is actually no great attribute to the place considering its
+disadvantages. One wonders that it is allowed to exist in so stagnant a
+condition, as the running waters of the near-by Eure might readily be
+made use of to change all this. The site of the chateau at the
+confluence of the Eure and the Voise is altogether charming.
+
+Madame de Maintenon did much to make the property more commodious and
+convenient and built the great right wing which binds the donjon to the
+main _corps de logis_. Her own apartments were situated in the new part
+of the palace. She also built the gallery which leads from the Tour de
+Machicoulis to the pointed chapel, which was a construction of the time
+of Cottereau, an accessory which every self-respecting country-house of
+the time was bound to have. It was by this gallery that the open tribune
+in the little chapel was reached, thus enabling Louis XIV to pass
+readily to mass while he was so frequent a visitor at that period when,
+at Maintenon, he was overseeing the construction of his famous aqueduct.
+
+Maintenon has had the honour, too, to count among its illustrious guests
+Racine, who came at the request of Madame de Maintenon, and here wrote
+"Esther" and "Athalie" which were later produced at Saint Cyr by Madame
+de Maintenon's celebrated band of "Demoiselles."
+
+Louis XIV was not the last of royal race to accept the Chateau de
+Maintenon's hospitality for the unhappy Charles X was obliged to ask
+shelter of its chatelain for himself and fleeing family. They arrived a
+little after midnight of a hot August night, slept as well as possible
+in the former apartments of Madame de Maintenon, and attended mass in
+the chapel on the following morning. The monarch then discharged the
+royal guard and the "hundred Swiss" and gave up, defeated at the game of
+playing monarch against the will of the people.
+
+One enters the _Cour d'Honneur_ by a great portal of the time of Louis
+XIV. Immediately before one is the principal façade, with its towers of
+brick and its slender little turrets framing in so admirably the
+entrance door. This façade is of the fifteenth century and on the tympan
+of the dormer windows one may still see the monogram of its builder,
+Cottereau. The drawbridge has been made way with, and the turrets over
+the portal have been bound together by a diminutive balcony of stone,
+which, while a manifest superfluity, is in no way objectionable.
+
+Under the entrance vault are doors on either side giving access to the
+living apartments of the _rez-de-chaussée_. In the inner courtyard is to
+be found the most exquisite architectural detail of the whole fabric,
+the tower which encloses the monumental stairway, to which entrance is
+had by a portal which is a veritable Gothic jewel. In the tympan of this
+portal, as in the dormer windows, is the device of Jean Cottereau,
+except in this case it is much more elaborate--a Saint Michel and the
+dragon, surrounded by a "_semis de coquilles_" bearing the escutcheons
+of the chatelain--_d'argent à lezards de sable_.
+
+At the left of this stairway tower is the principal courtyard façade,
+supported by four arcades, pierced with great windows and surmounted by
+two fine dormer windows, all in the style of Louis XII, of which the
+same effects to be observed at Blois and in the Hotel d'Alluye are
+contemporary.
+
+At the left of the inner court is the wing built by Cottereau which
+terminates in a great round tower, while to the right is that erected by
+Madame de Maintenon ending at the donjon. Directly opposite is a
+magnificent vista over the canal of ornamental water framed on either
+side by patriarchal trees and having as a background the silhouette of
+the arches of the famous aqueduct which was to lead the waters of the
+Eure to Versailles.
+
+The interior of the chateau is not less remarkable than the exterior.
+Entering by the tower portal one comes at once to that magnificent
+_grand escalier_ which is accounted one of the wonders of the French
+Renaissance.
+
+The Salle à Manger of to-day was the old-time Salle des Gardes. It is
+garnished with a fine wainscoting and panels of Cordovan leather. The
+Chambre à Coucher of Louis XIV, to the left, is to-day the Salon, and
+here are to be seen portraits of Louis XIV, Louis XII, Francis I, Henri
+IV, and Louis XIII.
+
+A tiny rotunda contains a statue of Henri IV as a child, and portraits
+of Madame de Maintenon and Louis XIV in their youth. A portrait gallery
+of restrained proportions contains effigies of Madame de Maintenon and
+her niece Mademoiselle d'Aubigné, the Duc de Penthièvre, the Comtesse de
+Toulouse, the Duc de Noailles, the Duchesse de Villars and the Duchesse
+de Chaumont.
+
+The show-piece of the chateau, albeit of recent construction, is known
+variously as the "Grand Galerie" and the "Longue Galerie." Its
+decorations are due to the Duc de Noailles, the father of the present
+proprietor. Virtually it is a portrait gallery of the Noailles family,
+going back to the times of the Crusaders and coming down to the
+twentieth century.
+
+The apartments of Madame de Maintenon form that portion of the chateau
+which has the chief sentimental interest. In an ante-chamber is a
+_chaise à porteurs_ once having belonged to the Marquise, and her
+portrait by Mignard. Cordovan leather is hung upon the walls, and the
+restored sleeping-room is hung with a canopy and separated from the rest
+of the apartment by a balustrade in _bois doré_. Above the
+chimney-piece is a portrait of Louis XIV, after Rigaud, and, finally,
+the oratory is ornamented by a series of elegant sculptures in wood and
+a magnificent Boule coffer.
+
+[Illustration: _Aqueduct of Louis XIV at Maintenon_]
+
+In the left wing is found a beautiful chapel of the fifteenth century,
+which is very pure in style. It is decorated with a series of
+Renaissance wood panels of the finest workmanship. The coloured glass of
+the windows is of the sixteenth century.
+
+The rebuilt monumental stairway connects directly with a passage leading
+to the entrance portico which opens on the garden terrace before the
+_parterre_.
+
+The park of Maintenon is in every way admirable, with its _pelouse_, its
+great border of trees, its waterways and more than thirty bridges. Jean
+Cottereau himself planned the first vegetable and fruit garden, or
+_potager_, the same whose successor is the delight of the dwellers at
+Maintenon to-day.
+
+The _parterre_, the Grand Canal and the two avenues of majestic trees
+were due to the conception of Le Notre, and their effect, as set off by
+the alleyed forest background and the pillars of the aqueduct of Louis
+XIV, is something unique.
+
+The gardens at Maintenon were perhaps not Le Notre's most famous work
+but they followed the best traditions of their time, and because of
+their vast expanse of ornamental water were, in a way, quite unequalled.
+
+Ambling off towards the forest is a great avenue flanked with high
+overhanging shade trees known as the Allée Racine. It gets its name from
+the fact that the dramatist was wont to take his walks abroad in this
+direction and woo the muse while he was a guest of Madame de Maintenon.
+
+
+
+
+CHAPTER XIX
+
+RAMBOUILLET AND ITS FOREST
+
+[Illustration: Château de Rambouillet]
+
+
+Rambouillet is one of the most famous of the minor royal chateaux of
+France. Built under the first of the monarchies, in the midst of the
+vast forest of Yveline, it has always formed a part of the national
+domain. Even now, under Republican France, it is still the scene of the
+hunts organized for visiting monarchs, and, within the last half dozen
+years alone, the monarchs of Spain and Belgium, Italy and England have
+shot hares and stags and pheasants in company with a Republican
+president.
+
+The occasions have lacked the picturesque costumes of the disciples of
+Saint Hubert in other times; but the huntsman still winds his horn to
+the same traditional tune and the banquets given in the chateau on such
+occasions are, in no small measure, an echo of what has gone before.
+
+It was in the old chateau of Rambouillet that Francis I died. In the
+month of March, 1547, Francis, coming from Chambord in the south,
+crossed the "accursed bridge" and arrived at the foot of the ivy-grown
+donjon which one sees to-day, the last remaining relic of the mediæval
+fortress. For a year the monarch had led a wandering life, revisiting
+all the favourite haunts of his kingdom, and, though scarce turned
+fifty, was prematurely aged and gray.
+
+He was lifted tenderly from his royal coach, and by the winding stair,
+carried slowly to his apartments on the second floor, overlooking the
+three canals and the "accursed bridge" and the tangled forest beyond.
+
+Jacques d'Angennes, to whose ancestors Rambouillet one day belonged,
+acted as host to his royal master and cared for him as a brother, but
+Francis was dispirited, and growing weaker every moment. He complained
+bitterly of the death of his favourite son from the plague, and of that
+of the gay monarch across the channel, his old friend, Henry VIII of
+England.
+
+He was restless and wished to move on to Saint Germain, but his
+condition made that impossible. After a feeble attempt to rouse himself
+for a hunt in the forest, he took to his bed again, with the admonition
+to his friend d'Angennes, who never left him: "I am dying, send for my
+son, Henri."
+
+The prince joined the mourners around the royal bedside and heard his
+father's confession thus: "My son, I have sinned greatly; I have been
+led away by my passions; follow that which I have done that is
+accredited good, and ignore the evil; above all, cherish France; be good
+to my people."
+
+That was all except the final counsel to "beware of the Guises; they are
+traitors." After that he spoke no more. Francis I, the gallant,
+art-loving monarch, the father of the Renaissance in France, was dead.
+
+In 1562, Catherine de Médici, accompanied by her son Charles IX, here
+awaited the results of the momentous battle of Dreux. In 1588, Henri
+III, fleeing Paris after the "_journée des barricades_" came here to
+rest, and so fatigued was he on his arrival that he went to bed "_tout
+botté_."
+
+The son of Louis XIV and Madame de Montespan came into possession of
+"the palace and lands" and in his honour the property was made, in spite
+of its limited area, a Duché-Pairie.
+
+Louis XIV and Madame de Maintenon, as was but natural, because of its
+proximity to Maintenon and to Paris, frequently honoured Rambouillet
+with their presence; and, a little later, Louis XV and the beautiful
+Comtesse de Toulouse followed suit.
+
+The Duc de Penthièvre, to whom the property had by this time descended,
+at the instance of Louis XVI, ceded to that monarch the domain of
+Rambouillet.
+
+Louis XVI built vast commons and outbuildings, all with some
+architectural pretence, to house the appanage of the royal hunt, and
+also built the Laiterie de la Reine and the model farm where, in 1786,
+he established the first national sheepfold.
+
+[Illustration: _Laiterie de la Reine, Rambouillet_]
+
+To-day this is the famous École de Bergers, where is quartered the
+largest flock of _moutons à laine_ (merino sheep) in France, they
+having been brought chiefly from Spain.
+
+The Laiterie de la Reine was a tiny sandstone temple with interior
+fittings chiefly of white marble, and with a great, round centre-table,
+and smaller tables in each corner, equally of marble, as becomes a
+hygienically fitted dairy. It was restored by Louis Napoleon during the
+Second Empire, and is still to be seen in all its pristine glory.
+
+In addition, Louis XVI had at Rambouillet a private domain of a
+considerable extent which only the Constitution of 1791 united to the
+Civil List. This property, except the palace, the park and the forest,
+was sold later by the State. The Imperial Civil List, formed in 1805 by
+Napoleon, included these dependencies specifically, and the emperor
+frequently hunted in the neighbouring forest, though, compared to his
+predecessors, he had little time to devote to that form of sport. Here,
+too, was signed, in 1810, the decree which united Holland with the
+Empire.
+
+Rambouillet has fallen sadly since the Revolution. A decree of the
+_Representants du Peuple_, of October 14, 1793, provided that "the
+furnishings of this palace, heretofore royal, shall be sold." Under the
+Consulate and Empire a certain citizen, Trepsat by name, received an
+injury in protecting Napoleon in an attack and, as recompense, was made
+the official Architect and Conservator of the Palace of Rambouillet.
+
+Hardly had Trepsat entered upon his functions when he suggested the
+demolition of the chateau. Napoleon hesitated, but finally partially
+agreed, insisting, however, that enough should be left to form a
+comfortable hunting-lodge. Trepsat would have torn down all and rebuilt
+anew. Napoleon made an appointment with his architect to visit the
+property and discuss the matter in detail the following year (1805), but
+at that moment he was campaigning in Austria, so the interview was not
+held. This was Trepsat's chance, and he found a pretext to overthrow the
+entire east wing, but was stopped before he was able to further carry
+out his ignorant act of vandalism. Trepsat was severely reprimanded by
+the emperor himself, and was ordered to put things back as he found
+them. "Even the most battered and sickly architect who ever lived could
+hardly have had a worse inspiration," said Napoleon. Trepsat, be it
+recalled, had lost a leg.
+
+The restoration was commenced, but Trepsat, committing one fault after
+another, and finally juggling with the accounts, was obliged to take on
+a collaborator by the name of Famin, a young _pensionnaire_ of the
+Académie des Beaux Arts, recently returned from Rome. It was he who
+saved Rambouillet from utter destruction.
+
+The apartments of Napoleon, which were those given over to public
+functions in the time of the Comte de Toulouse, had been, and were, most
+luxuriously appointed. That which shows most clearly the imprint of the
+imperial régime is the curious Salle de Bains which was in direct
+communication with the study, or Cabinet de Travail.
+
+It might have been a room in a Pompeian house so classic were its lines
+and decorations. There was a series of medallions painted on the wall
+representing portraits of members of the imperial family. These were
+chiefly portraits of the female sex, and Napoleon, the first time he
+entered his bath, in an excess of modesty and fury cried out: "Who is
+the ass that did this thing?" Immediately they were painted out, and,
+for the sum of nine hundred and fifty francs, another artist was found
+who filled the frames of the medallions with sights and scenes
+associated less intimately with Napoleonic history.
+
+Under the Empire the architect Famin was commissioned to furnish a
+series of architectural embellishments to the gardens of Rambouillet.
+Various stone statues were added and an octagon pavilion on the Ile des
+Roches was restored and redecorated. Two great avenues were cut through
+the _parterre_, and, as if fearing indiscretions on the part of his
+entourage, the emperor caused to be planted long rows of lindens and
+tulip trees, which were again masked by two rows of poplars. The
+_peloux_ of the Jardin Français were reëstablished and the curves and
+sweeps of the paths of the Jardin Anglais laid out anew.
+
+This ancient government property, arisen anew from its ruins, now bore
+the name of the Pavillon du Roi de Rome, after the son of Napoleon. The
+Écuries, or stables, which had been built by Louis XVI, were transformed
+into kennels, and various "posts," or miniature shooting-boxes, were
+distributed here and there through the park.
+
+Under the Restoration the transformation of the chateau, which had been
+projected ever since the time of Louis XVI, undertaken and then
+abandoned by Napoleon, was again commenced, but on a less ambitious
+scale than formerly. Chiefly this transformation consisted of opening up
+windows, thus making practically a new façade. It was not wholly a happy
+thought, and the spirit of economy of Louis XVIII, no less, perhaps,
+than other motives, arrested this mutilation and the architect was
+discharged from his functions.
+
+[Illustration: _Chateau de Rambouillet_]
+
+Again the hand of fate fell hard upon Rambouillet and its definite
+eclipse as a royal abode came with the abdication of Charles X. The
+abdication was actually signed at Rambouillet, and here, in the same
+Salle du Conseil, the dauphin renounced the throne in favour of the
+young Duc de Bordeaux.
+
+It was at Rambouillet that Charles X passed those solemn last days
+before the abdication. He had been unmercifully harassed at Paris and
+sought a quiet retreat, "not too far from the Tuileries," where he might
+repose a moment and take counsel. In view of later events this was
+significant; perhaps it was significant at the time, for the king
+speedily repented his abdication. It was too late, for he had classed as
+rebels all the royalists who would have accepted the "infant king" as
+their monarch, even though the following Revolution prevented this.
+
+It was on the third of August that the commissioners, deputies of the
+Provisionary Government, were brought before the king at Rambouillet.
+They announced that twenty-five thousand armed Parisians were marching
+on the chateau to compel him to quit his kingdom. It was not a matter
+for debate, and at nine o'clock on the same night the monarch gave
+assent to being conducted to Cherbourg, where he embarked upon his fatal
+exile.
+
+After 1830, with a business-like instinct, the authorities rented the
+property for twelve years to the Baron Schickler, and, at the end of the
+Revolution of 1848, its career became more plebeian still; it was rented
+to a man who converted the palace into an elaborately appointed
+road-house, and the lawns and groves into open-air restaurants and
+dancing places.
+
+Under the Gouvernement du Juillet the chateau, the park and the forest
+were removed from the Civil List, and entered upon the inventory of the
+Administration des Domaines.
+
+Under the Second Empire Rambouillet appeared again on the monarchial
+Civil List. Napoleon III came here at times to hunt, but not to live,
+and of his rare appearances at the chateau but little record exists.
+Since 1870 Rambouillet has belonged to the Republican Government, and,
+since royalties no longer exist in France, Republican chiefs of state
+now take the lead in Rambouillet's national hunts.
+
+The property, as it stands to-day, is divided readily into four distinct
+parts, the palace, the _parterre_, the _Jardin Anglais_ and the park.
+The grove of lindens is remarkable in every respect, the ornamental
+waters are gracious and of vast extent, and the _Laiterie_ and the
+_Ferme_ are decidedly models of their kind; but the Chaumière des
+Coquillages, a rustic summer-house of rocks and shells and questionable
+débris of all sorts, is hideous and unworthy.
+
+Not the least of the charming features of the park is the great alley of
+Louisiana cypresses, one of the real sights, indeed, perfecting the
+charm of the great body of water to the left of the chateau.
+
+Of the structure which existed in the fourteenth century, the chateau of
+Rambouillet retains to-day only a great battlemented tower, and some
+low-lying buildings attached to it. Successive enlargements,
+restorations and mutilations have changed much of the original aspect of
+the edifice, and modern structures flank and half envelop that which, to
+all eyes, is manifestly ancient. The débris of the old fortress, which
+was the foundation of all, adds its bit to the conglomerate mass of
+which the chief and most imposing elements are the two tall _corps de
+logis_ in the centre.
+
+Within, a rather banal Salle de Bal is shown as the chief feature, but
+it is conventionally unlovely enough to be passed without emotion, save
+that its easterly portion takes in the _cabinet_, or private apartment,
+where Charles X signed his abdication. Adjoining this is the bedroom
+occupied by that monarch, and a dining-room which also served His
+Majesty, and which is still used by the head of the government on
+ceremonious occasions. Its decorative scheme is of the period of Louis
+XV.
+
+The Salle de Conseil is of the period of Charles X, and has some fairly
+imposing carved wainscotings showing in places the monograms of Marie
+Sophie and the Comtesse de Toulouse.
+
+A great map, or plan, of the Forest of Rambouillet covers the end wall,
+and, if not esthetically beautiful, is at least useful and very
+interesting.
+
+It was executed under Louis XVI and doubtless served its purpose well
+when the hunters gathered after a day afield and recounted anecdotes of
+their adventures.
+
+There is another apartment on the ground floor which is known as the
+_Salle à Manger des Rendezvous de Chasse_, whose very name explains well
+its functions.
+
+The Cabinet de Travail of Marie Antoinette and the Salle de Bain of
+Napoleon have something more than a mere sentimental interest; they were
+decidedly practical adjuncts to the royal palace.
+
+Napoleon's bath took the form of a rather short, deep pool. Its fresco
+decorations, as seen to-day--replacing that family portrait gallery
+which Napoleon caused to be painted out--are after the pseudo-antique
+manner and represent bird's-eye views of various French cities and
+towns, while a series of painted armorial trophies decorates the
+ceiling.
+
+On the second floor are the apartments occupied by the Duchesse de Berry
+and those of the Duchesse d'Angouleme.
+
+In the great round tower is the circular apartment where Francis I
+breathed his last. It is this great truss-vaulted room that most
+interests the visitor to Rambouillet.
+
+On the ground floor is another Salle de Bain, quite as theatrically
+disposed as that of Napoleon. Its construction was due to the Comte de
+Toulouse whose taste ran to Delft tiles and polychrome panels, framing
+two imposing marines, also worked out in tiles.
+
+The _parterre_, extending before the main building, is of an ampleness
+scarcely conceivable until once viewed. It is purely French in design
+and is of the epoch of the tenancy of the Comte de Toulouse. Before the
+admirably grouped lindens was a boathouse, and off in every direction
+ran alleys of acacias, while here and there tulip beds, rose gardens and
+hedges of rhododendrons flanked the very considerable ornamental waters.
+This body of water, in the form of a trapezoid, is divided by four
+grass-grown islets and separates the Jardin Anglais from the Jardin
+Français. One of the islets is known as the Ile des Roches and contains
+the Grotte de Rabelais, so named in honour of the Curé of Meudon, when
+he was presented at Rambouillet by the Cardinal du Bellay. It was on
+this isle that were given those famous fêtes in honour of the "_beaux
+esprits_" who formed the assiduous cortège of Catherine de Vivonne,
+mythological, pagan and _outré_.
+
+The Jardin Anglais at Rambouillet is the final expression of the species
+in France. Designed under the Duc de Penthièvre, it was restored and
+considerably enlarged by Napoleon and, following the contours of an
+artificial rivulet, it fulfils the description that its name implies.
+
+More remote, and half hidden from the precincts of the chateau, are the
+Chaumière and the Ermitage and they recall the background of a Fragonard
+or a Watteau. It is all very "stagy"--but, since it exists, can hardly
+be called unreal.
+
+The park proper, containing more than twelve hundred hectares, is one of
+the largest and most thickly wooded in France. Between the _parterre_
+and the French and English garden and the park lie the Farm and the
+Laiterie de la Reine, the caprice of Louis XVI when he would content
+Marie Antoinette and give her something to think about besides her
+troubles. Napoleon stripped it of its furnishings to install them, for
+a great part, at Malmaison, for that other unhappy woman--Josephine.
+Later, to give pleasure to Marie Louise, he ordered them brought back
+again to Rambouillet, but it was to Napoleon III that the restoration of
+this charming conceit was due.
+
+In the neighbourhood of Rambouillet was the famous Chateau de Chasse, or
+royal shooting-box, which Louis XV was fond of making a place of
+rendezvous.
+
+On the banks of the Étang de Pourras stood this Chateau de Saint Hubert,
+named for the patron saint of huntsmen, and within its walls was passed
+many a happy evening by king and courtiers after a busy day with stag
+and hound.
+
+The hunt in France was perhaps at the most picturesque phase of its
+existence at this time. The hunt of to-day is but a pale, though bloody,
+imitation of the real sport of the days when monarchs and their
+seigneurs in slashed doublet and hose and velvet cloaks pursued the deer
+of the forest to his death, and knew not the _maitre d'equipage_ of
+to-day.
+
+
+
+
+CHAPTER XX
+
+CHANTILLY
+
+
+Chantilly, because of its royal associations, properly finds its place
+in every traveller's French itinerary. Not only did Chantilly come to
+its great glory through royal favour, but in later years the French
+government has taken it under its wing, the chateau, the stables and the
+vast park and forest, until the ensemble is to-day as much of a national
+show place as Versailles or Saint Germain. It is here in the marble
+halls, where once dwelt the Condés and the Montmorencys, that are held
+each year the examinations of the French Académie des Beaux Arts. And
+besides this it is a place of pilgrimage for thousands of tourists who,
+as a class, for a couple of generations previously, never got farther
+away from the capital than Saint Cloud.
+
+Many charters of the tenth century make mention of the estates of
+Chantilly, which at that time belonged to the Seigneurs of Senlis. The
+chateau was an evolution from a block-house, or fortress, erected by
+Catulus in Gallo-Roman times and four centuries later it remained
+practically of the same rank. In the fourteenth century the chateau was
+chiefly a vast fortress surrounded by a water defence in the form of an
+enlarged moat by means of which it was able to resist the Bourguignons
+and never actually fell until after the taking of Meaux by the English
+king, Henry V.
+
+[Illustration: CHANTILLY]
+
+Jean II de Montmorency, by his marriage with Marguerite d'Orgemont, came
+to be the possessor of the domain, their son, in turn, becoming the
+heir. It was this son, Guillaume, who became one of the most brilliant
+servitors of the monarchs Louis XI, Louis XII, and Francis I, and it was
+through these friends at court that Chantilly first took on its regal
+aspect.
+
+In turn the celebrated Anne de Montmorency, Connetable de France, came
+into the succession and finding the old fortress, albeit somewhat
+enlarged and furbished up by his predecessor, less of a palatial
+residence than he would have, separated the ancient chateau-fort from an
+added structure by an ornamental moat, or canal, and laid out the
+_pelouse_, _parterres_ and the alleys of greensward leading to the
+forest which make one of the great charms of Chantilly to-day.
+
+Here resided, as visitors to be sure, but for more or less extended
+periods, and at various times, Charles V, Charles IX and Henri IV, each
+of them guests of the hospitable and ambitious Montmorencys.
+
+[Illustration: _Statue of Le Notre, Chantilly_]
+
+Chantilly passed in 1632 to Charlotte, the sister of the last Maréchal
+de Montmorency, the wife of Henri II, Prince de Condé, the mother of the
+Grand Condé, the Prince de Conti and the Duchesse de Longueville.
+
+With the Grand Condé came the greatest fame, the apotheosis, of
+Chantilly. This noble was so enamoured of this admirable residence that
+he never left it from his thoughts and decorated it throughout in the
+most lavish taste of his time, destroying at this epoch the chateau of
+the moyen-age and the fortress. These were the days of gallant warriors
+with a taste for pretty things in art, not mere bloodthirsty
+slaughterers.
+
+On the foundations of the older structures there now rose an admirable
+pile (not that which one sees to-day, however), embellished by the
+surroundings which were evolved from the brain of the landscape
+gardener, Le Notre. The Revolution made way with this lavish structure
+and with the exception of the Chatelet, or the Petit Chateau (designed
+by Jean Bullant in 1560, and remodelled within by Mansart) the
+present-day work is a creation of the Duc d'Aumale, the heir to the
+Condés' name and fame, to whom the National Assembly gave back his
+ancestral estates which had in the meantime come into the inventory of
+royal belongings through the claims established by the might of the
+Second Empire.
+
+Back to the days of the Grand Condé one reads of an extended visit made
+by Louis XIV to his principal courtier. It was at an expense of two
+hundred thousand _écus_ that the welcoming fête was accomplished. Madame
+de Sévigné has recounted the event more graphically than any other
+chronicler, and it would be presumption to review it here at length. The
+incident of Vatel alone has become classic.
+
+To the coterie of poets at Rambouillet must be added those of Chantilly;
+their sojourn here added much of moment to the careers and reputations
+of Boileau, Racine, Bourdaloue and Bossuet. It was the latter, who, in
+the funeral oration which he delivered on the death of the Prince de
+Condé, said:
+
+"Here under his own roof one saw the Grand Condé as if he were at the
+head of his armies, a noble always great, as well in action as in
+repose. Here you have seen him surrounded by his friends in this
+magnificent dwelling, in the shady alleys of the forest or beside the
+purling waters of the brooks which are silent neither day nor night."
+
+The Grand Condé died, however, at Fontainebleau. The heir, Henri-Jules
+de Bourbon, did his share towards keeping up and embellishing the
+property, and to him was due that charming wildwood retreat known as the
+Parc de Sylvie.
+
+Louis-Henri de Bourbon, Minister of Louis XV at the commencement of his
+reign, had gained a fabulous sum of money in the notorious "Law's Bank"
+affair, and, with a profligate and prodigal taste in spending, lived a
+life of the grandest of grand seigneurs at Chantilly, to which, as his
+donation to its architectural importance, he contributed the famous
+Écuries, or stables. To show that he was _persona grata_ at court he
+gave a great fête here for Louis XV and the Duchesse du Barry.
+
+The last Prince de Condé but one before the Revolution built the Chateau
+d'Enghien in the neighbourhood, and sought to people the Parc de Sylvie
+with a rustic colony of thatched _maisonettes_ and install his
+favourites therein in a weak imitation of what had been done in the
+Petit Trianon. The note was manifestly a false one and did not endure,
+not even is its echo plainly audible for all is hearsay to-day and no
+very definite record of the circumstance exists.
+
+Chantilly in later times has been a favourite abode with modern
+monarchs. The King of Denmark, the Emperor Joseph II and the King of
+Sweden were given hospitality here, and much money was spent for their
+entertainment, and much red and green fire burned for their amusement
+and that of their suites.
+
+The Revolution's fell blow carried off the principal parts of the
+Condé's admirable constructions and it is fortunate that the Petit
+Chateau escaped the talons of the "Bande Noire." Immediately afterwards
+the Chateau d'Enghien and the Écuries were turned over to the uses of
+the Minister of War, and the authorities of the Jardin des Plantes were
+given permission to transplant and transport anything which pleased
+their fancy among the exotics which had been set out by Le Notre in
+Chantilly's famous _parterres_.
+
+Under the imperial régime the Forêt de Chantilly was given in fee simple
+to Queen Hortense, though all was ultimately returned to the Condé heirs
+after the Restoration. It was at this period that Chantilly received the
+visit of Alexander, Emperor of Russia, and the historian's account of
+that visit makes prominent the fact that during the periods of rain it
+was necessary that an umbrella be carried over the imperial head as he
+passed through the corridors of the palace from one apartment to
+another.
+
+The host of the emperor died here in 1818 and his son, spending perhaps
+half of his time here, cared little for restoration and spent all his
+waking hours hunting in the forest, returning to the Petit Chateau only
+to eat and sleep.
+
+The Duc de Bourbon added to the flanking wings of the Petit Chateau and
+cleaned up the débris which was fast becoming moss-grown, weed
+encumbered and altogether disgraceful. The moats were cleaned out of
+their miasmatic growth and certain of the grass-carpeted _parterres_
+resown and given a semblance of their former selves.
+
+Some days after the Revolution of 1830 the Prince de Condé died in a
+most dramatic fashion, and his son, the Duc d'Enghien, having been shot
+at Vincennes under the Empire, he willed the Duc d'Aumale and his issue
+his legal descendants forever.
+
+Towards 1840 the Duc d'Aumale sought to reconstruct the splendours of
+Chantilly, but a decree of January 22, 1852, banished the entire Orleans
+family and interrupted the work when the property was sold to the
+English bankers, Coutts and Company, for the good round sum of eleven
+million francs, not by any means an extravagant price for this estate
+of royal aspect and proportions. The National Assembly of 1872 did the
+only thing it could do in justice to tradition--bought the property in
+and decreed that it be restored to its legitimate proprietor.
+
+It was as late as 1876 that the Duc d'Aumale undertook the restoration
+of the Chatelet and the rebuilding of the new chateau which is seen
+to-day. The latter is from the designs of Henri Daumet, member of the
+Institut de France.
+
+In general the structure of to-day occupies the site of the moyen-age
+chateau but is of quite a different aspect.
+
+The Duc d'Aumale made a present of the chateau and all that was
+contained therein to the Institut de France. From a purely sordid point
+of view it was a gift valued at something like thirty-five million
+francs, not so great as many new-world public legacies of to-day, but in
+certain respects of a great deal more artistic worth.
+
+The mass is manifestly imposing, made up as it is, of four distinct
+parts, the Eglise, dating from 1692, the Écuries, the Chatelet--or Petit
+Chateau, and the Chateau proper--the modern edifice.
+
+Before the celebrated Écuries is a green, velvety _pelouse_ which gives
+an admirable approach. The architecture of the Écuries is of a heavy
+order and the sculptured decorations actually of little esthetic worth,
+representing as they do hunting trophies and the like. Before the great
+fountain one deciphers a graven plaque which reads as follows:
+
+   Louis Henri de Bourbon
+   Prince de Condé
+   Fut Construire Cette Écurie
+   1701-1784.
+
+Within the two wings may be stabled nearly two hundred horses. The Grand
+Écuries at Chantilly are assuredly one of the finest examples extant of
+that luxuriant art of the eighteenth century French builder. Luxurious,
+excessively ornate and overpowering it is, and, for that reason, open to
+question. The work of the period knew not the discreet middle road. It
+was of Chantilly that it was said that the live stock was better lodged
+than its masters. The architect of this portion of the chateau was Jean
+Aubert, one of the collaborators of Jules Hardouin Mansart.
+
+The characteristics of Chantilly, take it as a whole, the chateau, the
+park and the forest, are chiefly theatrical, but with an all-abiding
+regard for the proprieties, for beyond a certain heaviness of
+architectural style in parts of the chateau everything is of the finely
+focussed relative order of which the French architect and landscape
+gardener have for ages been past masters.
+
+The real French garden is here to be seen almost at its best, its
+squares and ovals of grassy green apportioned off from the mass by
+gravelled walks and ornamented waters. The "_tapis d'orient_" effect, so
+frequently quoted by the French in writing of such works, is hardly
+excelled elsewhere.
+
+All this shocked the mid-eighteenth century English traveller, but it
+was because he did not, perhaps could not, understand. Rigby, "the
+Norwich alderman" as the French rather contemptuously referred to this
+fine old English gentleman, said frankly of Chantilly: "All this has
+cost dear and produced a result far from pleasing." He would have been
+better pleased doubtless with a privet or box hedge and an imitation
+plaster rockery, things which have never agreed with French taste, but
+which were the rule in pretentious English gardens of the same period.
+Rigby must indeed have been a "_grincheau_," as the French called him,
+for this same up-country gentleman said of Versailles: "Lovely
+surrounding country but palace and park badly designed." Versailles is
+not that, whatever else its faults may be.
+
+Chantilly is more than a palace, it is a museum of nature, a hermitage
+of art and of history. The fantasy of its _tourelles_, its _lucarnes_
+and its _pignons_ are something one may hardly see elsewhere in such
+profusion, and the fact that they are modern is forgotten in the
+impression of the general silhouette.
+
+The adventurer who first built a donjon on the Rocher de Chantilly
+little knew with what seigneurial splendour the site was ultimately to
+be graced. From a bare outpost it was transformed, as if by magic, into
+a Renaissance palace of a supreme beauty. The Duc d'Aumale said in his
+"Acte de Donation de Chantilly": "It stands complete and varied, a
+monument of French art in all its branches, a history of the best epochs
+of our glory."
+
+Among all the palatial riches neighbouring upon Paris, not forgetting
+Versailles, Compiègne, Fontainebleau, Pierrefonds and Rambouillet,
+Chantilly, by the remarkable splendour of its surroundings, its
+situation and the artistic treasures which it possesses, is in a class
+by itself. It is a class more clearly defined by the historic souvenirs
+which surround it than any other contemporary structure of this part of
+France.
+
+Its corridors and gravelled walks and the long alleys of the park and
+forest may not take on the fête-like aspect which they knew in the
+eighteenth century, but they are not solitary like those of
+Fontainebleau and Rambouillet, nor noisily overrun like those of
+Versailles or Saint Germain.
+
+The ornamental waters which surround the Chateau de Chantilly are of a
+grand and nearly unique beauty. It is a question if they are not finer
+than the waters of Versailles, indeed they preceded them and may even
+have inspired them.
+
+The Chatelet, the chateau proper and the chapel form a group quite
+distinct from the Écuries. The Cour d'Honneur is really splendid and one
+hardly realizes the juxtaposition of modernity. The pavilion attributed
+to Jean Bullant, the western façade, the ancient Petit Chateau, the
+Grand Vestibule, the Grand Escalier and the Gallerie des Cerfs and a
+dozen other apartments are of a rare and imposing beauty, though losing
+somewhat their distinctive aspect by reason of the _objets de musée_
+distributed about their walls and floors.
+
+One of the landscape gems of Chantilly is the _Pelouse_, a vast
+esplanade of greensward now forming, in part, the celebrated race track
+of Chantilly. Sport ever formed a part of the outdoor program at
+Chantilly, but that of to-day is just a bit more horsey than that of
+old, a good deal less picturesque and assuredly more vulgarly banal as
+to its _cachet_ than the hunts, the tourneys and courses of the romantic
+age.
+
+[Illustration: _Chateau de Chantilly_]
+
+Thousands come to Chantilly to wager their coin on scrubs and dark
+horses ridden by third-rate "warned-off" jockeys from other lands, but
+probably not ten in ten thousand of the lookers on at the Grand Prix du
+Jockey Club in May ever make the occasion of the spring meeting an
+opportunity for visiting the fine old historic monument of the Condés.
+
+The "Races" of Chantilly may be given a further word in that they are an
+outgrowth of a foundation by the Duc d'Orleans in 1832. The track forms
+a circuit of two thousand metres, and occupies quite the best half of
+the Pelouse, closed in on one side by the thick-grown Forêt de Chantilly
+and flanked, in part, on the other by the historic Écuries, with the
+Tribune, or grand stand, just to the south.
+
+Many tourists arrive at Chantilly by auto, stop brusquely before the
+Grande Grille, rush through the galleries of the chateau, do "_cent
+pas_" in the park, give a cursory glance at the stables and are off; but
+more, many more, with slower steps and saner minds, drink in the charms
+which are offered on all sides and consider the time well spent even if
+they have paid "Boulevard Prices" at the Restaurant du Grand Condé for
+their _dejeuner_.
+
+It has been said that a museum is a reunion of _objets d'art_ brought
+about by a methodical grouping, either chronologically or categorically.
+The Duc d'Aumale's Musée de Chantilly is more an expression of personal
+taste. He collected what he wished and he arranged his collections as
+suited his fancy.
+
+The famous Musée de Chantilly, which is the lodestone which draws most
+folk thither, so admirably housed, was a gift of the Duc d'Aumale who,
+for the glory of his ancestors, and the admiration of the world, to say
+nothing of his own personal satisfaction, here gathered together an
+eclectic collection of curious and artistic treasures, certainly not the
+least interesting or valuable among the great public collections in
+France. The effect produced is sometimes startling, a Messonier is cheek
+by jowl with a Baron Gros, a Decamps _vis à vis_ to a Veronese, and a
+Lancret is bolstered on either hand by a Poussin and a Nattier. Amid all
+this disorder there is, however, an undeniable, inexplicable charm.
+
+There are three distinct apartments worth, more than all the others, the
+glance of the hurried visitor to the Musée Condé at Chantilly. In the
+first, the Santuario, is the Livre d'Heures of Etienne Chevalier, by
+Jean Fouquet, considered as the most important relic of primitive French
+art extant.
+
+The Cabinet des Gemmes comes second, and here is the celebrated "Diamant
+Rose," called the Grand Condé.
+
+Finally there is the Galerie de Psyche, with forty-four coloured glass
+windows, executed for the Connetable de Montmorency in 1541-1542.
+
+The great collection of historical and artistic treasures stowed away
+within the walls of Chantilly the Duc d'Aumale selected himself in order
+to associate his own name with the glorious memory of the Condés, who
+were so intimately connected with the chateau.
+
+The Duc sought to recover such of the former furnishings of the chateau
+as had been dissipated during the Revolution whenever they could be
+heard of and could be had at public or private sale.
+
+In this connection a word on Chantilly lace may not be found inapropos.
+The Chantilly lace of to-day, it is well to recall, is a mechanically
+produced article of commerce, turned out by the running mile from
+Nottingham, England, though in the days when Chantilly's porcelains
+rivalled those of Sevres it was purely a local product. One may well
+argue therefore that the bulk of the Chantilly lace sold in the shops of
+Chantilly to-day is not on a par with the admirable examples to be seen
+in the glass cases of the museum.
+
+A wooded alley leading to the great park runs between the main edifice
+and the Chateau d'Enghien, a gentle incline descending again to the
+sunken gardens in a monumental stairway of easy slope, the whole a
+quintessence of much that is best of the art of the landscape gardener
+of the time.
+
+To the left extends the vast Jardin Anglais--a veritable French Jardin
+Anglais. Let not one overlook the distinction: On conventional lines it
+is pretty, dainty and pleasing, but the species lacks the dignified
+formality of the Italian garden or the ingenious arrangement of the
+French. Its curves and ovals and circles are annoying after the _lignes
+droites_ and the right angles and the _broderies_ of the French variety.
+
+The Forêt de Chantilly covers two thousand four hundred and forty-nine
+hectares and extends from the Bois de Hérivaux on one side to the Forêt
+de Senlis on the other. The _rendezvous-de-chasse_ was, in the old days,
+and is to-day on rare occasions, at the Rond Point, to which a dozen
+magnificent forest roads lead from all directions, that from the town
+being paved with Belgian blocks, the dread of automobilists, but
+delightful to ride over in muddy weather. The Route de Connetable, so
+called, is well-nigh ideal of its kind. It launches forth opposite the
+chateau and at its entrance are two flanking stone lions. It is of a
+soft soil suitable for horseback riding, but entirely unsuited for
+wheeled traffic of any kind.
+
+Another of the great forest roads leads to the Chateau de la Reine
+Blanche, a diminutive edifice in the pointed style, with a pair of
+svelte towers coiffed candle-snuffer fashion. Tradition, and very
+ancient and somewhat dubious tradition, attributes the edifice as having
+belonged to Blanche de Navarre, the wife of Philippe de Valois. Again it
+is thought to have been a sort of royal attachment to the Abbaye de
+Royaumont, built near by, by Saint Louis. This quaintly charming manor
+of minute dimensions was a tangible, habitable abode in 1333, but for
+generations after appears to have fallen into desuetude. A mill grew up
+on the site, and again the walls of a chateau obliterated the more
+mundane, work-a-day mill. The Duc de Bourbon restored the whole place in
+1826 that it might serve him and his noble friends as a hunting-lodge.
+
+
+
+
+CHAPTER XXI
+
+COMPIÉGNE AND ITS FOREST
+
+
+One of the most talked of and the least visited of the minor French
+palaces is that of Compiègne. The archeologists coming to Compiègne
+first notice that all its churches are "_malorientées_." It is a minor
+point with most folk, but when one notes that its five churches have
+their high altars turned to all points of the compass, instead of to the
+east, it is assuredly a fact to be noticed, even if one is more
+romantically inclined than devout.
+
+Through and through, Compiègne, its palace, its hotel-de-ville, its
+forest, is delightful. Old and new huddle close together, and the _art
+nouveau_ decorations of a branch of a great Parisian department store
+flank a butcher's stall which looks as though it might have come down
+from the times when all trading was done in the open air.
+
+Compiègne's origin goes back to the antique. It was originally
+Compendium, a Roman station situated on the highway between Soissons and
+Beauvais. A square tower, Cæsar's Tower, gave a military aspect to the
+walled and fortified station, and evidences are not wanting to-day to
+suggest with what strength its fortifications were endowed.
+
+[Illustration: Compiègne]
+
+It was here that the first Frankish kings built their dwelling, and here
+that Pepin-le-Bref received the gracious gift of an organ from the
+Emperor Constantine, and here, in 833, that an assembly of bishops and
+nobles deposed Louis-le-Débonnaire.
+
+Charles-le-Chauve received Pope Jean VIII in great pomp in the palace at
+Compiègne, and it was this Pope who gave absolution to Louis-le-Begue,
+who died here but a year after, 879. The last of the Carlovingians,
+Louis V (le-Faineant), died also at Compiègne in 987.
+
+The city is thus shown to have been a favourite place of sojourn for the
+kings of the Franks, and those of the first and second races. As was but
+obvious many churchly councils were held here, fourteen were recorded in
+five centuries, but none of great ecclesiastical or civil purport.
+
+The city first got its charter in 1153, but the Merovingian city having
+fallen into a sort of galloping decay Saint Louis gave it to the
+Dominicans in 1260, who here founded, by the orders of the king, a Hotel
+Dieu which, in part, is the same edifice which performs its original
+functions to-day.
+
+The first great love of Compiègne was expressed by Charles V, who
+rebuilt the palace of Charles-le-Chauve in a manner which was far from
+making it a monumental or artistically disposed edifice. It was
+originally called the Louvre, from the Latin word _opus_
+(_l'oeuvre_), a word which was applied to all the chateaux-forts of
+these parts. The same monarch did better with the country-houses which
+he afterwards built at Saint Germain and Vincennes; perhaps by this time
+he had grown wise in his dealings with architects.
+
+Like all the little towns of the Valois, Compiègne abounds in souvenirs
+of the Guerre de Cent Ans, Jeanne d'Arc, Louis XIV, Louis XV, Napoleon I
+and Napoleon III, and as its monuments attest this glory, so its forest,
+one of the finest in France, awakens almost as many historical memories.
+
+Wars and rumors of war kept Compiègne in a turmoil for centuries, but
+the most theatrical episode was the famous "_sortie_" made by Jeanne
+d'Arc when she was attempting to defend the city against the combined
+English and Burgundian troops. It was an episode in which faint heart,
+perhaps treason, played an unwelcome part, for while the gallant maid
+was taking all manner of chances outside the gates the military
+governor, Guillaume de Flavy, ordered the barriers of the great portal
+closed behind her and her men.
+
+Near the end of the Pont de Saint Louis Jeanne d'Arc fell into the hands
+of the besiegers. An archer from Picardy captured her single handed,
+and, for a round sum in silver or in kind, turned her over to her
+torturer, Jean de Luxembourg. A statue of the maid is found on the
+public "Place," and the Tour Jeanne d'Arc, a great circular donjon of
+the thirteenth century, is near by. Another souvenir is to be found in
+the ancient Hotel de Boeuf, at No. 9 Rue de Paris, where the maid
+lodged from the eighteenth to the twenty-third of August, 1429, awaiting
+the entry of Charles VII.
+
+With the era of Francis I that gallant and fastidious monarch came to
+take up his residence at Compiègne. He here received his "friend and
+enemy," Charles V, but strangely enough there is no monument in
+Compiègne to-day which is intimately associated with the stay here of
+the art-loving Francis. He preferred, after all, his royal manor at
+Villers-Cotterets near by. There was more privacy there, and it formed
+an admirable retreat for such moments when the king did not wish to bask
+in publicity, and these moments were many, though one might not at first
+think so when reading of his affairs of state. There were also affairs
+of the heart which, to him, in many instances, were quite as important.
+This should not be forgotten.
+
+In 1624 a treaty was signed at Compiègne which assured the alliance of
+Louis XIII with the United Provinces, and during this reign the court
+was frequently in residence here. In 1631 Marie de Médici, then a
+prisoner in the palace, made a notable escape and fled, doomed ever
+afterwards to a vagabond existence, a terrible fall for her once proud
+glory, to her death in a Cologne garret ten years later.
+
+In 1635 the Grand Chancellor of Sweden signed a treaty here which
+enabled France to mingle in the affairs of the Thirty Years' War.
+
+During the Fronde, that "Woman's War," which was so entirely
+unnecessary, Anne d'Autriche held her court in the Palace of Compiègne
+and received Christine de Suede on certain occasions when that royal
+lady's costume was of such a grotesque nature, and her speech so
+_chevaleresque_, that she caused even a scandal in a profligate court.
+Anne d'Autriche, too, left Compiègne practically a prisoner; another
+_ménage à trois_ had been broken up.
+
+The most imposing event in the history of Compiègne of which the
+chronicles tell was the assembling of sixty thousand men beneath the
+walls by Louis XIV, in order to give Madame de Maintenon a realistic
+exhibition of "playing soldiers." At all events the demonstration was a
+bloodless one, and an immortal page in Saint-Simon's "Memoires"
+consecrates this gallantry of a king in a most subtle manner.
+
+Another fair lady, a royal favourite, too, came on the scene at
+Compiègne in 1769 when Madame du Barry was the principal _artiste_ in
+the great fête given in her honour by Louis XV. She was lodged in a tiny
+chateau (built originally for Madame de Pompadour) a short way out of
+town on the Soissons road.
+
+Du Barry must have been a good fairy to Compiègne for Louis XV lavished
+an abounding care on the chateau and, rather than allow the architect,
+Jacques Ange Gabriel, have the free hand that his counsellors advised,
+sought to have the ancient outlines of the former structure on the site
+preserved and thus present to posterity through the newer work the two
+monumental façades which are to be seen to-day. The effort was not
+wholly successful, for the architect actually did carry out his fancy
+with respect to the decoration in the same manner in which he had
+designed the École Militaire at Paris and the two colonnaded edifices
+facing upon the Place de la Concorde.
+
+This work was entirely achieved when Louis XVI took possession. This
+monarch, in 1780, caused to be fitted up a most elaborate apartment for
+the queen (his marriage with Marie Antoinette was consecrated here), but
+that indeed was all the hand he had in the work of building at
+Compiègne, which has practically endured as his predecessor left it. The
+Revolution and Consulate used the chateau as their fancy willed, and
+rather harshly, but in 1806 its restoration was begun and Charles IV of
+Spain, upon his dethronement by Napoleon, was installed therein a couple
+of years later.
+
+The palace, the park and the forest now became a sort of royal appanage
+of this Spanish monarch, which Napoleon, in a generous spirit, could
+well afford to will him. He lived here some months and then left
+precipitately for Marseilles.
+
+Napoleon affected a certain regard for this palatial property, though
+only occupying it at odd moments. He embellished its surroundings, above
+all its gardens, in a most lavish manner. Virtually, all things
+considered, Compiègne is a _Palais Napoleonien_, and if one would study
+the style of the Empire at its best the thing may be done at Compiègne.
+
+On July 30, 1814, Louis XVIII and Alexander of Russia met at Compiègne
+amid a throng of Paris notabilities who had come thither for the
+occasion.
+
+Charles X loved to hunt in the forest of Compiègne. In 1832, one of the
+daughters of Louis-Philippe, the Princesse Louise, was married to the
+King of the Belgians in this palace.
+
+From 1852 to 1870 the palace and its grounds were the scenes of many
+imperial fêtes.
+
+Napoleon III had for Compiègne a particular predilection. The
+prince-president, in 1852, installed himself here for the autumn season,
+and among his guests was that exquisite blond beauty, Eugenie Montijo,
+who, the year after, was to become the empress of the French. Faithful
+to the memory of his uncle, by reason of a romantic sentiment, the Third
+Napoleon came frequently to Compiègne; or perhaps it was because of the
+near-by hunt, for he was a passionate disciple of Saint Hubert. It was
+his Versailles!
+
+The palace of Compiègne as seen to-day presents all the classic coldness
+of construction of the reign of Louis XV. Its lines were severe and that
+the building was inspired by a genius is hard to believe, though in
+general it is undeniably impressive. Frankly, it is a mocking, decadent
+eighteenth century architecture that presents itself, but of such vast
+proportions that one sets it down as something grand if not actually of
+surpassing good taste.
+
+In general the architecture of the palace presents at first glance a
+coherent unit, though in reality it is of several epochs. Its
+furnishings within are of different styles and periods, not all of them
+of the best. Slender gold chairs, false reproductions of those of the
+time of Louis XV, and some deplorable tapestries huddle close upon
+elegant "_bergères_" of Louis XVI, and sofas, tables and bronzes of
+master artists and craftsmen are mingled with cheap castings unworthy of
+a stage setting in a music hall. A process of adroit eviction will some
+day be necessary to bring these furnishings up to a consistent plane of
+excellence.
+
+One of the façades is nearly six hundred feet in length, with forty-nine
+windows stretching out in a single range. It might be the front of an
+automobile factory if it were less ornate, or that of an exposition
+building were it more beautiful. In some respects it is reminiscent of
+the Palais Royal at Paris, particularly as to the entrance colonnade and
+gallery facing the Louvre.
+
+The chief beauty within is undoubtedly the magnificent stairway, with
+its balustrade of wrought iron of the period of Louis XVI. The Salle de
+Spectacle is of a certain Third Empire-Louis Napoleon distinction, which
+is saying that it is neither very lovely nor particularly plain, simply
+ordinary, or, to give it a French turn of phrase, vulgar.
+
+One of the most remarkable apartments is the Salle des Cartes, the old
+salon of the Aides de Camp, whose walls are ornamented with three great
+plans showing the roads and by-paths of the forest, and other decorative
+panels representing the hunt of the time of Louis XV.
+
+The Chambre à Coucher of the great Napoleon is perhaps the most
+interesting of all the smaller apartments, with its strange bed, which
+in form more nearly resembles an oriental divan than anything European.
+Doubtless it is not uncomfortable as a bed, but it looks more like a
+tent, or camp, in the open, than anything essentially intended for
+domestic use within doors. After the great Napoleon, his nephew Napoleon
+III was its most notable occupant, though it was last slept in by the
+Tzar Nicholas II, when he visited France in 1901.
+
+The sleeping-room of the Empress Eugenie is fitted up after the style of
+the early Empire with certain interpolations of the mid-nineteenth
+century. The most distinct feature here is the battery of linen coffers
+which Marie Louise had had especially designed and built. The Salon des
+Dames d'Honneur, with its double rank of nine "scissors chairs," the
+famous _tabourets de cour_, lined up rigidly before the _canapé_ on
+which the empress rested, is certainly a remarkable apartment. This
+was the _decor_ of convention that Madame Sans Gene rendered classic.
+
+[Illustration: _Napoleon's Bedchamber, Compiègne_]
+
+Like all the French national palaces Compiègne has a too abundant
+collection of Sevres vases set about in awkward corners which could not
+otherwise be filled, and, beginning with the vestibule, this thing is
+painfully apparent.
+
+The apartments showing best the Napoleonic style in decorations and
+furnishings are the Salon des Huissiers, the Salle des Gardes, the
+Escalier d'Apollon, the Salle de Don Quichotte--which contains a series
+of designs destined to have served for a series of tapestries intended
+to depict scenes in the life of the windmill knight--the Galerie des
+Fêtes, the Galerie des Cerfs, the Salle Coypel, the Salle des Stucs and
+the Salon des Fleurs, through which latter one approaches the royal
+apartments.
+
+In the sixteenth century, or, more exactly, between 1502 and 1510, was
+constructed Compiègne's handsome Hotel de Ville, one of the most
+delightful architectural mixtures of Gothic and Renaissance extant. It
+is an architectural monument of the same class as the Palais de Justice
+at Rouen or the Hotel Cluny at Paris. Its frontispiece is marvellous,
+the _rez-de-chaussée_ less gracious than the rest perhaps, but with the
+first story blooming forth as a gem of magnificent proportions and
+setting. Between the four windows of this first story are posed
+statuesque effigies of Charles VII, Jeanne d'Arc, Saint Rémy and Louis
+IX. In the centre, in a niche, is an equestrian statue of Louis XII, who
+reigned when this monument was being built. A _balustrade à jour_
+finishes off this story, which, in turn, is overhung with a high, peaked
+gable, and above rise the belfry and its spire, of which the great clock
+dates from 1303, though only put into place in 1536. The only false note
+is sounded by the two insignificant, cold and unlovely wings which flank
+the main structure on either side.
+
+It is a sixteenth century construction unrivalled of its kind in all
+France, more like a Belgian town-hall belfry than anything elsewhere to
+be seen outside Flanders, but it is not of the low Spanish-Renaissance
+order as are so many of the imposing edifices of occidental and oriental
+Flanders. It is a blend of Gothic and Renaissance, and, what is still
+more rare, the best of Gothic and the best of Renaissance. Above its
+façade is a civic belfry, flanked by two slender towers. Within the
+portal-vestibule rises a monumental stairway which must have been the
+inspiration of many a builder of modern opera-houses.
+
+Opposite the Hotel Dieu is the poor, rent relic of the Tour de Jeanne
+d'Arc, originally a cylindrical donjon of the twelfth century, wherein
+"La Pucelle" was imprisoned in 1430.
+
+Between the palace and the river are to be seen many vestiges of the
+mediæval ramparts of the town, and here and there a well-defined base of
+a gateway or tower. Mediævalism is rampant throughout Compiègne.
+
+The park surrounding the palace is quite distinct from the wider radius
+of the Fôret de Compiègne. It is of the secular, conventional order, and
+its perspectives, looking towards the forest from the terrace and vice
+versa, are in all ways satisfying to the eye.
+
+One of the most striking of these alleyed vistas was laid out under the
+orders of the first Napoleon in 1810. It loses itself in infinity,
+almost, its horizon blending with that of the far distant Beaux Monts in
+the heart of the forest.
+
+In the immediate neighbourhood of the palace are innumerable statues,
+none of great beauty, value or distinction. On the south side runs a
+Cours, or Prado, as it would be called in Catalonia. The word Cours is
+of Provençal origin, and how it ever came to be transplanted here is a
+mystery. Still here it is, a great tree-shaded promenade running to the
+river. The climate of Compiègne is never so blazing hot as to make this
+Cours so highly appreciated as its namesakes in the Midi, but as an
+exotic accessory to the park it is quite a unique delight.
+
+Within the park may still be traced the outlines of the moat which
+surrounded the palace of Charles V, as well as some scanty remains of
+the same period.
+
+Another distinctive feature is the famous _Berceau en Fer_, an iron
+trellis several thousands of feet in length, which was built by Napoleon
+I as a reminder to Marie Louise of a similar, but smaller, garden
+accessory which she had known at Schoenbrunn. It was a caprice, if you
+like, and rather a futile one since it was before the time when
+artistically worthless things were the rage just because of their
+gigantic proportions. Napoleon III cut it down in part, and pruned it to
+more esthetic proportions, and what there is left, vine and flower
+grown, is really charming.
+
+The Forêt de Compiègne as a historic wildwood goes back to the Druids
+who practiced their mysterious rites under its antique shade centuries
+before the coming of the kings, who later called it their own special
+hunting preserve. Stone hatchets, not unlike the tomahawks of the red
+man, have been found and traced back--well, definitely to the Stone
+Age, and supposedly to the time when they served the Druids for their
+sacrifices.
+
+[Illustration: _Cours de Compiègne_]
+
+The soldiers of Cæsar came later and their axes were of iron or copper,
+and though on the warpath, too, their way was one which was supposed to
+lead civilization into the wilderness. Innumerable traces of the Roman
+occupation are to be found in the forest by those who know how to read
+the signs; twenty-five different localities have been marked down by the
+archeologists as having been stations on the path blazed by the Legions
+of Rome.
+
+After the Romans came the first of the kings as proprietors of the
+forest, and in the moyen-age the monks, the barons and the crown itself
+shared equally the rights of the forest.
+
+Legends of most weird purport are connected with various points
+scattered here and there throughout the forest, as at the Fosse Dupuis
+and the Table Ronde, where a sort of "trial by fire" was held by the
+barons whenever a seigneur among them had conspired against another.
+Ariosto, gathering many of his legends from the works of the old French
+chroniclers, did not disdain to make use of the Forêt de Compiègne as a
+stage setting.
+
+During the reign of Clothaire the forest was known as the Forêt de
+Cuise, because of a royal palace hidden away among the Druid oaks which
+bore the name of Cotia, or Cusia. Until 1346 the palace existed in some
+form or other, though shorn of royal dignities. It was at this period
+that Philippe VI divided the forests of the Valois into three distinct
+parts in order to better regulate their exploitation.
+
+The Frankish kings being, it would seem, inordinately fond of _la
+chasse_ the Forêt de Compiègne, in the spring and autumn, became their
+favorite rendezvous. Alcuin, the historian, noted this fact in the
+eighth century, and described this earliest of royal hunts in some
+detail. In 715 the forest was the witness of a great battle between the
+Austrasians and the Neustrians.
+
+Before Francis I with his habitual initiative had pierced the eight
+great forest roads which come together at the octagon called the Puits
+du Roi, the forest was not crossed by any thoroughfare; the nearest
+thing thereto was the Chaussée de Brunhaut, a Roman way which bounded it
+on the south and east.
+
+Louis XIV and Louis XV, in turn, cut numerous roads and paths, and to
+the latter were due the crossroads known as the Grand Octagone and the
+Petit Octagone.
+
+It was over one of these great forest roads, that leading to Soissons,
+that Marie Louise, accompanied by a cortège of three hundred persons,
+eighty conveyances and four hundred and fifty horses, journeyed in a
+torrential rain, in March 1807, when she came to France to found a
+dynasty.
+
+A marriage had been consummated by procuration at Vienna, and she set
+out to actually meet her future spouse for the first time at Soissons.
+At the little village of Courcelles, on the edge of the forest between
+Soissons and Compiègne, two men enveloped in great protecting cloaks had
+arrived post-haste from Compiègne. At the parish church they stopped a
+moment and took shelter under the porch, impatiently scanning the
+horizon. Finally a lumbering _berlin de voyage_ lurched into view, drawn
+by eight white horses. In its depths were ensconced two women richly
+dressed, one a beautiful woman of mature years, the other a young girl
+scarce eighteen years.
+
+The most agitated of the men, he who was clad in a gray redingote,
+sprang hastily to the carriage door. He was introduced by the older
+woman as "_Sa Majesté l'Empereur des Françaises, mon frere_." The
+speaker was one of the sisters of Napoleon, Caroline, Queen of Naples;
+the other was the Archduchess Marie Louise, daughter of Franz II,
+Emperor of Austria.
+
+An imposing ceremonial had been planned for Soissons and the court had
+been ordered to set out from Compiègne with the emperor, in order to
+arrive at Soissons in due time. When the actual signal for the departure
+was given the emperor was nowhere to be found. As usual he had
+anticipated things.
+
+For weeks before the arrival of the empress to be Napoleon had passed
+the majority of his waking hours at Paris in the apartments which he had
+caused to be prepared for Marie Louise. He selected the colour of the
+furnishings, and superintended the very placing of the furniture. Among
+other things he had planned a boudoir which alone represented an
+expenditure of nearly half a million francs.
+
+Lejeune, who had accompanied Maréchal Berthier to Vienna to arrange the
+marriage, had returned and given his imperial master a glowing
+description of the charms of the young archduchess who was to be his
+bride. The emperor compared his ideal with her effigy on medals and
+miniatures and then worked even more ardently than before that her
+apartments should be worthy of her when she arrived.
+
+It was just following upon this fever of excitement that Napoleon and
+the court had repaired to Compiègne. So restless was the emperor that
+he could hardly bide the time when the archduchess should arrive, and it
+was thus that he set out with Murat to meet the approaching cortège.
+
+The pavilion which had been erected for the meeting was left to the
+citizens of the neighbourhood, and the marvellous banquet which had been
+prepared by Bausset was likewise abandoned. Napoleon had no time to
+think of dining.
+
+All the roadside villages between Soissons and Compiègne were hung with
+banners, and the populace appeared to be as highly excited as the
+contracting parties. It still rained a deluge, but this made no
+difference. Two couriers at full gallop came first to Compiègne, crying:
+"Place": "Place": The eight white horses and the _berlin de voyage_
+followed. Before one had hardly time to realize what was passing,
+Napoleon and his bride whisked by in a twinkling.
+
+At nine o'clock an outpost in the park at Compiègne announced the
+arrival of the emperor and his train. At ten o'clock a cannon shot rang
+out over the park and the emperor and empress passed into the chateau to
+proceed with certain indispensable presentations; then to souper, a
+_petite souper intime_, we are assured.
+
+On the morrow all the world of the assembled court met the empress and
+avowed that she had that specious _beauté du diable_ which has ever
+pleased the French connoisseur of beautiful women. They went further,
+however, and stated that in spite of this ravishing beauty she lacked
+the elegance which should be the possession of an empress of the French.
+The faithful Berthier silenced them with the obvious statement that
+since she pleased the emperor there was nothing more to be said, or
+thought.
+
+Flying northward on the great highroad leading out from Paris to
+Chantilly and Compiègne gadabout travellers have never a thought that
+just beyond Pont Saint Maxence, almost in plain view from the doorway of
+the Inn of the Lion d'Argent of that sleepy little town, is a gabled
+wall which represents all that remains of the "Maison de Philippe de
+Beaumanoir," called the Cour Basse.
+
+THE END
+
+
+
+
+INDEX
+
+
+   _Aiguillon_, Duchesse d', 217
+
+   _Alcuin_, 358
+
+   _Alexander_, Emperor, 221, 330, 349
+
+   _Alphonse XIII of Spain_, 7
+
+   Amboise, 26, 28, 86
+
+   _Amboise, Bussy d'_, 72
+
+   _Ancre, Maréchal d'_, 67
+
+   _Andelot, Coligny d'_, 72-73
+
+   _Andilly, Arnauld d'_, 267
+
+   Anet, Chateau d', 29, 111
+
+   _Angennes, Jacques d'_, 44, 299, 311
+
+   Angers, Chateau d', 22
+
+   _Anglas, Boissy d'_, 114
+
+   _Angouleme, Duchesse d'_, 321
+
+   _Anjou, Ducs d'_, 22, 136, 212
+
+   _Anne of Austria_, 96-97, 136-137, 284-287, 289, 347
+
+   _Arc, Jeanne d'_, 345-346, 354
+
+   Ardennes, 54
+
+   Arlors, 25
+
+   _Artois, Comtesse d'_, 176
+
+   _Aubert, Jean_, 333
+
+   _Aubigné, D'_, 299
+
+   _Aumale, Duc d'_, 29, 327, 331-332, 335, 338, 339
+
+   _Auvergne, Louis d'_, 162-163
+
+   _Ayen, Duc d'_, 299
+
+
+   Bagatelle, Chateau de, 163, 203-206
+
+   _Bailly, Sylvain_, 104
+
+   _Barbés_, 173
+
+   Barbison, 200-201
+
+   _Baril, Jean_, 25
+
+   _Barry, Mme. du_, 211, 242-243, 245, 250, 275, 329, 348
+
+   _Bassompierre_, 195, 262
+
+   Bastille, 71, 145, 173
+
+   _Bausset_, 361
+
+   _Bavière, Isabeau de_, 69, 151, 182
+
+   _Beauharnais, Eugene_, 220, 222
+
+   _Beauharnais, Hortense_, 215, 220, 221
+
+   _Beaujon_, 164
+
+   _Beaumont, Cardinal de_, 179
+
+   Beauvais, Hotel de, 11
+
+   _Becker, General_, 221
+
+   _Becket, Thomas à_, 182
+
+   _Bedford, Duke of_, 69
+
+   _Belleveu_, 241-242
+
+   _Berquin, Louis de_, 67
+
+   _Berry, Duc de_, 165
+
+   _Berry, Duchesse de_, 50, 321
+
+   _Berthier, Maréchal_ (see _Wagram, Prince de_)
+
+   _Blanchard_, 130
+
+   _Blanqui_, 173
+
+   _Blois_, 21, 26, 305
+
+   _Blondel_, 37
+
+   _Blucher_, 173, 209
+
+   _Boileau_, 328
+
+   Boissy, Forest of, 49
+
+   _Bonaparte, Caroline_, 359
+
+   _Bonaparte, Jerome_, 147
+
+   _Bonaparte, Louis_, 235
+
+   _Bonaparte, Lucien_, 145
+
+   _Bonheur, Rosa_, 202
+
+   _Bordeaux, Duc de_, 166
+
+   _Borghese, Princesse_, 208
+
+   _Bossuet_, 328
+
+   _Boulanger_, 200
+
+   _Boullée_, 164
+
+   Boulogne, Bois de, 168, 174, 175, 203, 206, 209
+
+   _Bourbon Family_, 164-165, 329, 331, 341
+
+   Bourbon, Palais, 120, 159-161
+
+   _Bourdaloue_, 328
+
+   Bourg-la-Reine, 3
+
+   _Boyceau_, 30, 262, 270
+
+   _Breton, Mme. de_, 121-122
+
+   _Brunet_, 223
+
+   _Brunswick, Duchesse de_, 154
+
+   _Bullant, Jean_, 109, 327, 336
+
+
+   _Cadoudal_, 173
+
+   _Cambacères, Consul_, 115-116
+
+   Cardinal, Palais (_see_ Royal, Palais)
+
+   _Carpeaux_, 118
+
+   _Carrier-Belleuse_, 202
+
+   _Cartouche_, 67
+
+   _Cellini_, 182, 192
+
+   _Chabanne, Comte de_, 73
+
+   _Chabrol_, 147
+
+   _Chalgrin_, 154
+
+   _Chambiges, Pierre_, 91, 281-282
+
+   Chamblay, 54-56
+
+   Chambord, 71, 86, 310
+
+   _Chamillard, Michael_, 252-253
+
+   _Champaigne, Philippe de_, 135
+
+   _Champollion-Figèac_, 184
+
+   Chantilly, Chateau and Forest of, 324-340, 362
+
+   _Chappell, Comte des_, 72
+
+   Charenton, 152
+
+   _Charlemagne_, 18, 116, 281
+
+   _Charles II_, 344
+
+   _Charles V_, 22, 23, 25, 62-63, 66, 68, 77, 82-84, 170, 190, 247, 281,
+      327, 344, 356
+
+   _Charles VI_, 63, 66, 69, 176-177, 229
+
+   _Charles VII_, 69, 182, 190, 346, 354
+
+   _Charles VIII_, 21, 299
+
+   _Charles IX_, 89, 91-94, 106, 108-110, 171, 209, 291, 312, 327
+
+   _Charles X_, 57, 108, 118, 146, 173, 192, 204, 212, 237-238, 303,
+      317, 319-320, 349
+
+   _Charles IV, Emperor_, 63
+
+   _Charles V, Emperor_, 85, 88, 346
+
+   _Charles I, of England_, 104, 137, 289
+
+   _Charles the Bold of Burgundy_ (see _Charolais, Comte de_)
+
+   _Charolais, Comte de_, 177-178
+
+   _Chartres, Ducs de_ (see _Orleans, Ducs de_)
+
+   _Chateauroux, Mme. de_, 250
+
+   _Chatou_, 210
+
+   Chenonceaux, 26, 32, 71
+
+   _Chevalier, Etienne_, 339
+
+   _Childerbert I_, 216
+
+   _Christina, Queen_, 222
+
+   _Cinq-Mars_, 73, 134
+
+   _Clagny, Chateau de_, 228, 277
+
+   _Clément, Jacques_, 93, 230-232
+
+   _Clothaire_, 357
+
+   _Clotilde_, 61
+
+   _Clovis_, 61, 76, 216
+
+   _Coictier, Jacques_, 66, 152
+
+   _Colbert_, 3, 87, 98, 100, 269
+
+   _Coligny, Admiral_, 93
+
+   _Collo, Jean_, 27
+
+   _Commynes_, 177
+
+   Compiègne, Palace and Forest of, 52-53, 165, 232, 335, 342-362
+
+   Conciergerie, 61, 65-68
+
+   _Condé Family_, 73, 269, 324, 327-331, 333, 337, 339
+
+   Conflans, Chateau de, 2, 175-179
+
+   _Constantine, Emperor_, 344
+
+   Consulat, Palais du (_see_ Luxembourg, Palais du)
+
+   _Conti Family_, 211, 242, 327
+
+   _Corneille_, 73, 133, 151
+
+   _Corot_, 200
+
+   _Cottereau, Jean_, 299, 300-305, 307
+
+   Courcelles, 359
+
+   _Cousin, Jean_, 170
+
+   _Coypel_, 137
+
+   _Cromwell_, 137
+
+   _Crozat_, 162
+
+   _Dagobert_, 54
+
+   _Damiens_, 67, 263-264
+
+   _Dante_, 24
+
+   _Dardelle_, 123
+
+   _Daru_, 100
+
+   _Daubigny_, 200
+
+   _Daumesnil, Baron_, 173
+
+   _Daumet, Henri_, 332
+
+   _Debanes_, 22
+
+   _Debrosse, Jacques_, 64, 154, 158
+
+   _Decamps_, 202, 338
+
+   _Delille, Abbé_, 143
+
+   _Delorme, Marion_, 73
+
+   _Delorme, Philibert_, 34, 108-111, 189
+
+   _Denecourt_, 198-199, 201
+
+   Deputés, Chambre des (_see_ Bourbon, Palais)
+
+   _Desmoulins, Camille_, 145
+
+   _Diaz_, 200
+
+   Directoire, Palais du (_see_ Luxembourg, Palais du)
+
+   _Donon_, 100
+
+   _Dorbay_, 110
+
+   _Drouais_, 211
+
+   _Ducamp, Maxine_, 126
+
+   _Ducerceau_, 92, 94, 110, 112
+
+   _Ducrot, General_, 222
+
+   _Dugastz_, 232
+
+   _Dupaira_, 95
+
+   _Duperac_, 110
+
+   _Dupré_, 200
+
+   _Durfort, Madame_, 49
+
+
+   Egalité, Palais (_see_ Royal, Palais)
+
+   Enghien, Chateau d', 340
+
+   _Enghien, Duc d'_, 169, 172-174, 331
+
+   _Epernon, Ducs d'_, 103, 232
+
+   _Erard, Sebastian_, 210
+
+   _Este, Maria d'_, 290
+
+   Estival, Convent of, 49
+
+   _Estrées, Gabrielle d'_, 102, 210
+
+   _Étampes, Duchesse d'_, 86, 185, 192, 294
+
+   _Étoiles, Normand d'_, 204
+
+   _Eugenie, Empress_, 120-122, 125-126, 238, 350, 352
+
+   _Evans, Dr._, 122
+
+
+   _Fallières, President_, 166-167
+
+   _Famin_, 314-315
+
+   _Faure, Felix_, 56, 58-59
+
+   _Féraud_, 114
+
+   _Ferrare, Duc de_, 70
+
+   _Flandre, Comte de_, 82
+
+   _Flavy, Guillaume de_, 345
+
+   Fleury, Chateau de, 195
+
+   _Fontaine_, 99, 127
+
+   Fontainebleau, Forest of, 6, 50, 52, 181, 183, 196-202, 279, 294
+
+   Fontainebleau, Palais de, 2, 26, 28, 33, 34, 87, 91, 111, 180-196,
+     329, 335, 336
+
+   _Fouché_, 221
+
+   _Fould_, 53
+
+   _Fouquet, Jean_, 339
+
+   _Fouquet, Nicolas_, 269
+
+   _Fragonard_, 211
+
+   _Francine, Thomas and Alexandre_, 196
+
+   _Francis I_, 8, 10, 12, 16, 21, 32, 44-45, 62, 64, 67, 77, 79, 81,
+      84-89, 108, 110, 170, 181, 183-187, 189-191, 194, 209, 229, 281-282,
+      290, 292, 299, 306, 310-311, 321, 326, 346, 358
+
+   _Franz II_, 359
+
+
+   _Gabriel_, 276, 348
+
+   Gaillon, Chateau de, 33
+
+   _Ganne, Père_, 200
+
+   _Girardini_, 160
+
+   Gisors, Castle of, 82
+
+   _Gondi_, 230, 232
+
+   _Goujon, Jean_, 89, 90
+
+   Grand Trianon, 39, 248, 258, 259, 260, 263, 264, 274-276
+
+   _Gregory of Tours_, 215
+
+   _Grévy, Jules_, 58
+
+   _Gros, Baron_, 338
+
+   Grosbois, Chateau de, 51
+
+   _Guilbert, Abbé_, 184
+
+   _Guillain, Guillaume_, 282
+
+   _Guise, Ducs de_, 70, 72-73, 103
+
+
+   _Hamon_, 200
+
+   _Harlay-Crauvallon, Archbishop De_, 178-179
+
+   _Haussmann, Baron_, 3, 13, 152
+
+   _Hebert_, 201
+
+   _Hennequin, Dame Gillette_, 178
+
+   _Henri II_, 26, 32, 44, 69-70, 78, 85, 87, 89, 90, 91, 108, 110, 170,
+      193, 229, 230, 282, 294-295, 311, 327
+
+   _Henri III_, 29, 92-93, 101, 109, 230-232, 312
+
+   _Henri IV_, 16, 26, 27, 29, 45-46, 71-72, 87, 89, 92, 94-95, 102-103,
+      111-112, 118, 172, 186, 190, 191, 194-197, 206, 209, 210, 231, 232,
+      238, 282-283, 306, 327
+
+   _Henrietta of England_, 233, 289
+
+   _Henriette de France_, 104, 137
+
+   _Henry V of England_, 63, 326
+
+   _Henry VI of England_, 63, 69
+
+   _Henry VIII of England_, 311
+
+   Hérivaux, Bois de, 340
+
+   _Hohenzollern, Prince de_, 53
+
+   _Hortense, Queen_, 330
+
+   _Hugo, Victor_, 73
+
+   _Hugues Capet_, 62
+
+
+   Institut, Palais de l', 159-160
+
+   _Isabey_ (_Père_), 40
+
+
+   _Jacob of Cologne_, 87
+
+   _Jacque_, 200
+
+   _James II of England_, 290
+
+   _Jarnac, Gui Chabot de_, 294
+
+   _Joachim, Prince_, 52, 56
+
+   _John II of France_, 83, 170
+
+   _John VIII, Pope_, 344
+
+   Joinville, Forest of, 169
+
+   _Josephine, Empress_, 174, 215, 217-222, 323
+
+   Justice, Palais de (_see_ La Cité, Palais de)
+
+
+   _Karr, Alphonse_, 149
+
+
+   _La Barauderie, De_, 30
+
+   _Labaudy_, 50
+
+   _La Brosse_, 102
+
+   La Cité, Palais de, 12, 61-68, 75, 81, 82, 93, 152, 153, 170
+
+   _La Châtaigneraie_, 294
+
+   _Laffitte, Pierre_, 212, 213, 243
+
+   _Lambesc, Prince de_, 144
+
+   La Muette, Chateau de, 111, 203, 209-210
+
+   _Lancret_, 338
+
+   Langeais, 33
+
+   _Lannes, Maréchal_, 213
+
+   _Laporte_, 284
+
+   _La Quintinye_, 267-269
+
+   La Reine Blanche, Chateau de, 341
+
+   _Laschant_, 232
+
+   _Latini, Brunetto_, 24
+
+   _Lauzan_, 178, 289
+
+   _La Vallière, Louise de_, 289
+
+   _Lebrun, Charles_, 97, 255, 256
+
+   _Lebrun, Consul_, 115
+
+   _Le Calabrese, Henri_, 27
+
+   _Lecouteux de Canteleu_, 217, 222
+
+   _Ledoux_, 211, 243
+
+   _Lefuel_, 100
+
+   _Lejeune_, 360
+
+   _Leloir_, 239
+
+   L'Elysée, Palais de, 153, 162-167
+
+   _Lemercier, Jacques_, 96, 100, 135, 262
+
+   _Le Moyne_, 239
+
+   _Le Notre_, 16, 22, 25, 26, 28, 30, 31, 35, 39, 40, 104, 128, 129-130,
+      179, 233, 248, 264-266, 270, 277, 288, 292, 307-308, 327, 330
+
+   _Lepaute_, 240
+
+   _Le Roy_, 262
+
+   Les Bruyeres, 222
+
+   _Lescot, Pierre_, 88-90, 109
+
+   _Lesdiguières, Duchesse de_, 179
+
+   _Levau_, 97-98, 110, 247, 249
+
+   _Lomenci, Martial de_, 247
+
+   _Longueil, René de_, 212
+
+   _Longueville, Mme. de_, 73, 327
+
+   _Loret_, 11
+
+   _Lorraine, Cardinal de_, 111
+
+   _Lorraine, Chevalier de_, 233
+
+   _Louis I_, 344
+
+   _Louis V_, 344
+
+   _Louis VI_, 281
+
+   _Louis VII_, 169, 181, 182
+
+   _Louis IX_, 23, 62, 77, 169, 176, 182, 190, 281, 295, 341, 344, 354
+
+   _Louis XI_, 21, 66, 69, 152, 172, 177-178, 299, 326
+
+   _Louis XII_, 26, 69, 299, 305, 306, 326, 354
+
+   _Louis XIII_, 16, 48, 87, 96, 112, 132, 134, 136, 171, 189, 190, 194,
+      209, 247, 249, 262, 266, 283-284, 306, 347
+
+   _Louis XIV_, 11, 12, 14, 16, 17, 29, 33, 38, 39, 46, 48, 49, 50, 85,
+      87, 97-99, 104, 112, 118, 127, 136-137, 152, 158, 170, 178, 186,
+      189, 190, 206, 217, 223-224, 226, 233, 240, 245, 247, 249, 251-253,
+      255-257, 261, 264, 268, 270, 273, 274, 277, 283, 284, 288-290, 291,
+      293, 296, 297, 299, 303-307, 312, 328, 345, 347, 358
+
+   _Louis XV_, 4, 14, 16, 17, 38, 48, 112, 152, 162, 163, 174, 185, 186,
+      189, 190, 192, 205, 207, 209, 211, 227, 241, 243, 246, 250, 253,
+      263-264, 275-276, 284, 290, 312, 320, 323, 329, 345, 348, 350-352,
+      358
+
+   _Louis XVI_, 37, 39, 41, 43, 57, 108, 113, 118, 143, 144, 152, 154,
+      210, 213, 227, 250, 261, 235-236, 352, 356, 358-362, 290, 312-313,
+      316, 320, 322, 348, 351
+
+   _Louis XVIII_, 118, 161, 174, 237, 250, 316, 349
+
+   _Louis Philippe_, 105, 108, 117-118, 146, 149, 154, 162, 166, 186, 194,
+      199, 207, 238, 254-255, 350 (_see also Orleans Family_)
+
+   Louveciennes, Chateau de, 210-212, 242, 288
+
+   Louvre, 4, 12, 13, 22, 25, 32, 44, 62, 68, 75-105, 108, 109, 110, 111,
+      112, 118, 124, 131, 132, 152, 233, 351
+
+   _Lude, Comtesse de_, 49
+
+   _Luxembourg, Jean de_, 346
+
+   Luxembourg, Palais de, 28, 40, 115, 136, 144, 153-158
+
+
+   Machine de Marly, 223-224
+
+   Madrid, Chateau de, 111
+
+   _Magnan, Maréchal_, 242
+
+   _Maine, Duc de_, 159
+
+   Maintenon, Chateau de, 242, 296-308, 312
+
+   _Maintenon, Mme. de_, 158-159, 194, 227, 249, 274, 296-299, 302-303,
+      305-308, 312, 347
+
+   Maisons-Laffitte, Chateau de, 203, 212-214, 288
+
+   Malmaison, Chateau de, 215-223, 323
+
+   _Mandrin_, 67
+
+   _Mansart, François_, 212-213
+
+   _Mansart, Jules Hardouin_, 35, 137, 179, 226, 233, 241, 249, 274, 276,
+      291, 327, 333
+
+   Mantes, 55
+
+   _Mantes, Mlle. de_, 159
+
+   _Marat_, 116
+
+   _Marceliano, Pucello and Edme_, 26
+
+   _Marie Antoinette_, 49, 115, 194, 204, 210, 237, 245, 256, 276-277, 320,
+      322, 349
+
+   _Marie Louise_, 6, 117, 208
+
+   _Marie Sophie_, 320
+
+   _Marie Thérèse_, 11
+
+   _Marigny, Enguerrand de_, 62, 172
+
+   _Marigny, Marquis de_, 99
+
+   Marlotte, 201
+
+   Marly-le-Roi (_or_ -le-Bourg _or_ -le-Chatel), 2, 224-228, 283, 288
+
+   _Mary Tudor, of England_, 69
+
+   Marseilles, 91
+
+   _Massena, Duc de_, 217
+
+   _Masson, Frederic_, 236
+
+   _Matignon, Maréchal de_, 70
+
+   _Mayenne, Duc de_, 101
+
+   _Mazarin, Cardinal_, 87, 104, 136, 159, 169, 283-285
+
+   Mazarin, Palais (_see_ Institut, Palais de l')
+
+   _Médici, Catherine de_, 26, 31, 33, 44, 48, 68, 69-71, 90-91, 93-94,
+      97, 107, 108, 110, 111, 171, 195, 230, 247, 311
+
+   _Médici, Marie de_, 72, 103, 154, 155, 158, 206, 347
+
+   _Menars et de Marigny, Marquis de_, 163
+
+   _Menours, Jacques de_, 30, 262-263
+
+   _Mercogliano_, 18
+
+   _Messonier_, 338
+
+   _Metezeau, Thibaut_, 92, 94
+
+   _Metternich, Prince de_, 121
+
+   Meudon, Bois de, 240
+
+   Meudon, Chateau de, 34, 111
+
+   _Michelet_, 192
+
+   _Mignard_, 233, 239, 306
+
+   _Millet, Eugene_, 290, 291
+
+   _Millet, Jean François_, 200, 201
+
+   _Mirabeau_, 172
+
+   _Molière_, 73, 104, 178, 249
+
+   Molineaux, Chateau de, 278
+
+   _Mollet, Claude_, 29, 30
+
+   _Mollien_, 100
+
+   _Monconseil, Marquise de_, 204
+
+   _Mongomere, Comte de_, 67
+
+   _Montansier, Duc de_, 269
+
+   Montargis, 28
+
+   _Montebello, Maréchal de_, 213
+
+   _Montespan, Marquise de_, 159, 249, 275, 312
+
+   _Montesson, Marquise de_, 234
+
+   Montgaillard, 50
+
+   _Montgolfier_, 130
+
+   _Montgomeri, Sieur de_, 70
+
+   Montmartre, 288
+
+   _Montmorency Family_, 178, 324, 326-327, 339
+
+   Montmorency, Forest of, 49, 288
+
+   _Montpensier, Mlle. de_, 136
+
+   _Moreau, Architect_, 138
+
+   _Moreau, Hégésippe_, 123-124
+
+   _Moskowa, Prince de la_, 53
+
+   _Muette, Chateau de la_, 111
+
+   _Murat, Princes de_, 52-56, 165, 235, 361
+
+   _Murillo_, 164
+
+   Musée de Cluny, 12
+
+   _Musset, De_, 274
+
+
+   _Nacret_, 239
+
+   Nanterre, 281
+
+   _Nanteuil, Célestin_, 200
+
+   _Napoleon I_, 6, 13, 40, 51-52, 57, 79, 88, 100, 108, 115-118, 127,
+      129, 145, 154, 155, 160, 165, 171, 173-174, 180, 186, 187-188, 190,
+      194, 208, 213, 217-222, 235-237, 250, 254, 274, 296, 298, 313-316,
+      320, 321, 322, 345, 349, 352, 355-356, 359-362
+
+   _Napoleon III_, 13, 58, 92, 100, 105, 118-122, 147, 152, 166, 195,
+      197, 222, 238, 290, 313, 318, 323, 345, 350-352, 356
+
+   _Nattier_, 338
+
+   _Neckar_, 144
+
+   _Nemours, Duc de_, 70
+
+   _Neufforge, De_, 37
+
+   Neuilly and its Chateau, 206-209, 238
+
+   _Nicholas II_, 352
+
+   _Nicolo dell' abbate_, 193
+
+   _Nigra, Chevalier_, 121
+
+   _Noailles, Ducs de_, 298-300, 306
+
+   Noisy, Chateau de, 278
+
+   _Nolhac, M. de_, 274
+
+
+   _Olivier, Emile_, 125
+
+   _Oppenard_, 137
+
+   _Orgemont, Marguerite d'_, 326
+
+   _Orleans, Ducs d'_, 137-140, 143, 144-149, 161, 209, 233, 234,
+      286-287, 337
+
+   Orleans, Palais d' (_see_ Royal, Palais)
+
+   _Ormesson, D'_, 73
+
+   _Osman_, 230-231
+
+   _Oursins, Juvenal des_, 66
+
+
+   _Palatine, Princesse_, 233
+
+   _Palissy, Bernard_, 31-32
+
+   _Panseron_, 37
+
+   _Paré, Ambroise_, 171
+
+   _Paul, Saint Vincent de_, 73
+
+   _Penthièvre, Duc de_, 306, 312, 322
+
+   _Pepin-le-Bref_, 343
+
+   _Percier_, 100, 127
+
+   _Perrault, Charles_, 98-99
+
+   Petit Luxembourg, Palais du, 155, 157
+
+   Petit Trianon, 39, 260, 264, 274, 276-277, 329
+
+   _Pfnor_, 184
+
+   _Philippe Auguste_, 12, 62, 77, 80-82, 169, 182, 190
+
+   _Philippe III_, 62, 177
+
+   _Philippe IV_, 62, 170, 176, 182, 190, 295
+
+   _Philippe VI_, 170, 358
+
+   _Philippe II, of Spain_, 69
+
+   _Philippe-Egalité_, 138-139
+
+   _Picard, Achille_, 125
+
+   _Pichegreu_, 173
+
+   Pierrefonds, 290, 335
+
+   _Pisan, Christine de_, 23
+
+   _Pius VII_, 6, 115, 194, 235
+
+   _Poirson_, 184
+
+   _Poissin_, 164
+
+   Poissy, 23, 232, 292, 293
+
+   _Poitiers, Diane de_, 29, 44, 70-71, 193
+
+   _Pompadour, Mme. de_, 163, 204-205, 241-242, 246, 250, 275, 348
+
+   _Potter, Paul_, 164
+
+   _Poussin_, 338
+
+   _Prieur, Barthélemy_, 196
+
+   _Primaticcio_, 87, 188, 192, 193
+
+   _Provence, Comte de_, 154
+
+
+   Quatre Nations, Palais des (_see_ Institut, Palais de l')
+
+
+   _Rabelais_, 322
+
+   _Racine_, 297, 303, 308, 328
+
+   Rambouillet, Chateau and Forest of, 44-45, 50, 55-59, 242, 296, 298,
+      309-323, 328, 335, 336
+
+   _Rambouillet, Seigneur de_, 299
+
+   _Raphael_, 87, 170
+
+   _Raspail_, 173
+
+   _Ravaillac_, 67, 102
+
+   _Redon_, 128
+
+   _Régnier, Henri de_, 244
+
+   _Remusat, Mme. de_, 174, 219
+
+   _Retz, Maréchal de_, 247
+
+   Revolution, Palais de la (_see_ Royal, Palais)
+
+   _Richelieu, Cardinal_, 72, 73, 95, 100, 131-139, 151, 178, 179, 216-217
+
+   _Rigaud_, 307
+
+   _Rigby_, 334
+
+   _Robert II_, 62, 190, 281
+
+   _Rochefort, Henri_, 120-121
+
+   _Romain, Mme._, 141
+
+   _Ronsard_, 34, 90, 109, 111
+
+   _Roosevelt, Theodore_, 166-167
+
+   _Rosier, De_, 210
+
+   _Rosny_, 55
+
+   _Rosso_, 182, 192
+
+   _Rousseau, Theodore_, 200, 201
+
+   _Rousselle_, 123
+
+   Rouvray, Forest of, 229
+
+   _Rovigo, Duc de_, 221
+
+   Royal, Palais, 131-150, 284, 351
+
+   Royale, Place (_see_ Vosges, Place des)
+
+   _Rubens_, 164
+
+   Rueil (_see_ Malmaison)
+
+
+   _Sadi-Carnot_, 58
+
+   Saint Cloud, Palais de, 13, 93, 228, 229-243
+
+   Saint Cyr, 296-298, 303
+
+   Saint Germain-en-Laye, 28, 91, 111, 136, 203, 206, 223, 232, 242, 256,
+      279-295, 311, 324, 336, 345
+
+   Saint Germain, Forest of, 212, 292-295
+
+   _Saint James, Baudart de_, 208
+
+   _Saint Louis_ (see _Louis IX_)
+
+   Saint Maur, Chateau de, 111
+
+   _Saint Ouen_, 54
+
+   _Saint-Simon_, 179, 262, 348
+
+   _Sarto, Del_, 192
+
+   _Savoie, Louise de_, 108
+
+   _Savoie, Philippe de_, 66
+
+   _Scarron, Mme._ (see _Maintenon, Mme. de_)
+
+   _Schickler, Baron_, 318
+
+   _Schopin_, 195
+
+   Sénat, Palais du (_see_ Luxembourg, Palais du)
+
+   Senlis, 6
+
+   Senlis, Forêt de, 340
+
+   _Senlis, Seigneurs de_, 324
+
+   _Séran, Comtesse de_, 275
+
+   _Serlio_, 88, 185
+
+   _Serres, Olivier de_, 33
+
+   _Servandoni_, 112
+
+   _Sévigné, Mme. de_, 179, 277, 328
+
+   Soissons, 359-361
+
+   _Soyecourt, Marquis de_, 212
+
+   _Sualem, Rennequin_, 223
+
+   _Sully, Duc de_, 102, 103
+
+
+   _Talmon, Prince de_, 73
+
+   _Tessé, Marquis de_, 73
+
+   Thermes, Palais des, 12, 62, 153
+
+   _Thierry III_, 224
+
+   _Thiers, President_, 122-123
+
+   Thomery, 202
+
+   _Thou, De_, 73
+
+   Temple, The, 144
+
+   _Tiercelin, Jean_, 108
+
+   Tillet, Maison du, 232
+
+   _Toulouse, Comte de_, 321
+
+   _Toulouse, Comtesse de_, 312, 320
+
+   Tournelles, Palais des, 66, 68-71, 81, 152
+
+   _Trepsat_, 313-314
+
+   Trianon (_see_ Grand Trianon)
+
+   _Triboulet_, 186
+
+   Tribunat, Palais du (_see_ Royal, Palais)
+
+   _Trochu, General_, 120
+
+   Tuileries, Palace and Gardens of the, 3, 13, 31, 33-34, 40, 76, 78, 82,
+      91, 92, 94, 106-130, 131, 155, 157, 166, 218, 227, 317
+
+   _Turenne_, 73
+
+   _Turgot_, 100
+
+
+   Valerian, Mont, 288
+
+   _Vallet, Pierre_, 27
+
+   _Valois, Charles, Comte de_, 170
+
+   _Valois, Elizabeth de_, 69
+
+   _Valois, Marguerite de_ (1492-1549), 8, 10
+
+   _Valois, Marguerite de_ (1553-1615), 10, 69, 111, 209
+
+   _Van Loo_, 164
+
+   _Vasari_, 181
+
+   _Vauban_, 252
+
+   Vaux-le-Vicomte, 36, 42
+
+   _Vendome, Duc de_, 102, 206
+
+   _Vernet, Joseph_, 164, 239
+
+   _Verneuil, Marquis de_, 207
+
+   _Veronese_, 338
+
+   Versailles, 2, 36, 42, 85, 88, 99, 112, 118, 145, 163, 180, 196, 205,
+      215, 223-224, 226, 228, 239, 240, 242, 244-278, 279, 283, 296, 305,
+      324, 334, 335, 336, 350
+
+   Vesinet, Bois de, 288
+
+   _Vexin, Comte de_, 159
+
+   _Vignole_, 188
+
+   _Vignon_, 113
+
+   Villa Normande, 54
+
+   _Villeray, Marquis de_, 299
+
+   _Villeroy, Marquis Neuville de_, 108
+
+   _Villeroy, Maréchal de_, 178
+
+   Villers-Cotterets, 28, 165, 346
+
+   Vincennes, Chateau de, 168-175, 331, 345
+
+   Vincennes, Bois de, 168, 174-175, 177
+
+   _Vinci, Leonardo da_, 87, 192
+
+   _Visconti_, 100
+
+   _Vivonne, François de_, 294
+
+   _Voltaire_, 263
+
+   _Von Ostade_, 164
+
+   Vosges, Place des, 71-74, 152.
+
+
+   _Wagram, Prince de_, 51, 52, 360, 362
+
+   _Wallace, Sir Richard_, 205
+
+   _Wellington_, 208-209
+
+   _William I, Emperor_, 255
+
+   _Wolsey_, 132
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK ROYAL PALACES AND PARKS OF FRANCE***
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+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" />
+<title>The Project Gutenberg eBook of Royal Palaces and Parks of France, by Milburg Francisco Mansfield</title>
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+<body>
+<h1>The Project Gutenberg eBook, Royal Palaces and Parks of France, by Milburg
+Francisco Mansfield, Illustrated by Blanche McManus</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Royal Palaces and Parks of France</p>
+<p>Author: Milburg Francisco Mansfield</p>
+<p>Release Date: June 19, 2008  [eBook #25842]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK ROYAL PALACES AND PARKS OF FRANCE***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Juliet Sutherland, Janet Blenkinship,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 659px;">
+<img src="images/cover.jpg" width="395" height="600" alt="" title="cover" />
+</div>
+
+<div class="figcenter" style="width: 422px;">
+<a name="frontis" id="frontis"></a>
+<img src="images/frontis.jpg" width="422" height="600" alt="Terrace of Henri IV, Saint Germain" title="" />
+<span class="caption"><i>Terrace of Henri IV, Saint Germain</i> (<i>See page <a href='#Page_286'><b>286</b></a></i>)</span>
+</div>
+
+
+<h1>Royal Palaces and Parks of France</h1>
+
+
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/illus005.jpg" width="350" height="219" alt="" title="decoration" />
+</div>
+
+
+<h2><span class="smcap">By Francis Miltoun</span><br /></h2>
+
+<h4>Author of "Castles and Chateaux of Old Touraine," "Castles<br />
+and Chateaux of Old Burgundy," "Rambles in Normandy,"<br />
+"Italian Highways and Byways<br />
+from a Motor-Car," etc.<br /></h4>
+
+<h3><i>With Many Illustrations<br />
+Reproduced from paintings made on the spot</i></h3>
+
+<h2><span class="smcap">By Blanche McManus</span><br /></h2>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p class="center">
+BOSTON
+<br />
+L. C. PAGE &amp; COMPANY
+<br />
+1910<br />
+<br />
+
+<i>Copyright, 1910.</i><br />
+
+<span class="smcap">By L. C. Page &amp; Company.</span>
+<br />
+(INCORPORATED)<br />
+<br />
+<i>All rights reserved</i>
+<br />
+First Impression, November, 1910
+<br />
+<i>Printed by<br />
+THE COLONIAL PRESS<br />
+C. H. Simonds &amp; Co., Boston, U. S. A.</i><br />
+<span class='pagenum'><a name="Page_i" id="Page_i">[Pg i]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><i>WORKS OF<br />
+FRANCIS MILTOUN</i></h2>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="Books by Francis Miltoun">
+<tr><td align='left'><i>Rambles on the Riviera</i></td><td align='right'>$2.50</td></tr>
+<tr><td align='left'><i>Rambles in Normandy</i></td><td align='right'>2.50</td></tr>
+<tr><td align='left'><i>Rambles in Brittany</i></td><td align='right'>2.50</td></tr>
+<tr><td align='left'><i>The Cathedrals and Churches of the Rhine</i></td><td align='right'>2.50</td></tr>
+<tr><td align='left'><i>The Cathedrals of Northern France</i></td><td align='right'>2.50</td></tr>
+<tr><td align='left'><i>The Cathedrals of Southern France</i></td><td align='right'>2.50</td></tr>
+<tr><td align='left'><i>In the Land of Mosques and Minarets</i></td><td align='right'>3.00</td></tr>
+<tr><td align='left'><i>Royal Palaces and Parks of France</i></td><td align='right'>3.00</td></tr>
+<tr><td align='left'><i>Castles and Chateaux of Old Touraine and the Loire Country</i></td><td align='right'>3.00</td></tr>
+<tr><td align='left'><i>Castles and Chateaux of Old Navarre and the Basque Provinces</i></td><td align='right'>3.00</td></tr>
+<tr><td align='left'><i>Castles and Chateaux of Old Burgundy and the Border Provinces</i></td><td align='right'>3.00</td></tr>
+<tr><td align='left'><i>Italian Highways and Byways from a Motor Car</i></td><td align='right'>3.00</td></tr>
+<tr><td align='left'><i>The Automobilist Abroad</i></td><td align='right'>net 3.00</td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>(<i>Postage Extra</i>)</td></tr>
+</table></div>
+
+<p class="center"><i>L. C. Page and Company</i>
+<i>53 Beacon Street, Boston, Mass.</i></p>
+
+<hr style="width: 65%;" />
+<h2><a name="Preface" id="Preface"></a>Preface</h2>
+
+<div class="blockquot"><p>"A thousand years ago, by the rim of a tiny spring, a monk who had
+avowed himself to the cult of Saint Saturnin, robed, cowled and
+sandalled, knelt down to say a prayer to his beloved patron saint.
+Again he came, this time followed by more of his kind, and a wooden
+cross was planted by the side of the "Fontaine Belle Eau," by this
+time become a place of pious pilgrimage. After the monk came a
+king, the latter to hunt in the neighbouring forest."</p></div>
+
+
+<p>It was this old account of fact, or legend, that led the author and
+illustrator of this book to a full realization of the wealth of historic
+and romantic incidents connected with the French royal parks and
+palaces, incidents which the makers of guidebooks have passed over in
+favour of the, presumably, more important, well authenticated facts of
+history which are often the bare recitals of political rises and falls
+and dull chronologies of building up and tearing down.</p>
+
+<p>Much of the history of France was made in the great national forests and
+the royal country-houses of the kingdom, but usually it has been only
+the events of the capital which have been passed in review. To a great
+extent this history<span class='pagenum'><a name="Page_ii" id="Page_ii">[Pg ii]</a></span> was of the gallant, daring kind, often written in
+blood, the sword replacing the pen.</p>
+
+<p>At times gayety reigned supreme, and at times it was sadness; but always
+the pageant was imposing.</p>
+
+<p>The day of pageants has passed, the day when lords and ladies moved
+through stately halls, when royal equipages hunted deer or boar on royal
+preserves, when gay cavalcades of solemn cort&egrave;ges thronged the great
+French highways to the uttermost frontiers and ofttimes beyond. Those
+days have passed; but, to one who knows the real France, a ready-made
+setting is ever at hand if he would depart a little from the beaten
+paths worn smooth by railway and automobile tourists who follow only the
+lines of conventional travel.</p>
+
+<p>France, even to-day, the city and the country alike, is the paradise of
+European monarchs on a holiday. One may be met at Biarritz on the shores
+of the Gascon gulf; another may be taking the waters at Aix or Vichy,
+shooting pigeons under the shadow of the Tete de Chien, or hunting at
+Rambouillet. This is modern France, the most cosmopolitan meeting place
+and playground of royalty in the world.</p>
+
+<p>French royal parks and palaces, those of the kings and queens of
+medi&aelig;val, as well as later, times, differ greatly from those of other
+lands.<span class='pagenum'><a name="Page_iii" id="Page_iii">[Pg iii]</a></span> This is perhaps not so much in their degree of splendour and
+luxury as in the sentiment which attaches itself to them. In France
+there has ever been a spirit of gayety and spontaneity unknown
+elsewhere. It was this which inspired the construction and maintenance
+of such magnificent royal residences as the palaces of Saint
+Germain-en-Laye, Fontainebleau, Versailles, Compi&egrave;gne, Rambouillet,
+etc., quite different from the motives which caused the erection of the
+Louvre, the Tuileries or the Palais Cardinal at Paris.</p>
+
+<p>Nowhere else does there exist the equal of these inspired royal
+country-houses of France, and, when it comes to a consideration of their
+surrounding parks and gardens, or those royal hunting preserves in the
+vicinity of the Ile de France, or of those still further afield, at
+Rambouillet or in the Loire country, their superiority to similar
+domains beyond the frontiers is even more marked.</p>
+
+<p>In plan this book is a series of itineraries, at least the chapters are
+arranged, to a great extent in a topographical sequence; and, if the
+scope is not as wide as all France, it is because of the prominence
+already given to the parks and palaces of Touraine and elsewhere in the
+old French provinces in other works in which<span class='pagenum'><a name="Page_iv" id="Page_iv">[Pg iv]</a></span> the artist and author have
+collaborated. It is for this reason that so little consideration has
+been given to Chambord, Amboise or Chenonceaux, which were as truly
+royal as any of that magnificent group of suburban Paris palaces which
+begins with Conflans and ends with Marly and Versailles.</p>
+
+<p>Going still further afield, there is in the Pyrenees that chateau, royal
+from all points of view, in which was born the gallant Henri of France
+and Navarre, but a consideration of that, too, has already been included
+in another volume.</p>
+
+<p>The present survey includes the royal dwellings of the capital, those of
+the faubourgs and the outlying districts far enough from town to be
+recognized as in the country, and still others as remote as Rambouillet,
+Chantilly and Compi&egrave;gne. All, however, were intimately connected with
+the life of the capital in the medi&aelig;val and Renaissance days, and
+together form a class distinct from any other monumental edifices which
+exist, or ever have existed, in France.</p>
+
+<p>Mere historic fact has been subordinated as far as possible to a recital
+of such picturesque incidents of the life of contemporary times as the
+old writers have handed down to us, and a complete chronological review
+has in no manner been attempted.<span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus011.jpg" width="650" height="359" alt="" title="Contents" />
+</div>
+
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="CONTENTS">
+<tr><td>&nbsp;</td><td align='left'>CHAPTER</td><td align='right'>PAGE</td></tr>
+<tr><td align='right'>I.</td><td align='left'><span class="smcap">Introductory</span></td><td align='right'><a href='#Page_13'><b>13</b></a></td></tr>
+<tr><td align='right'>II.</td><td align='left'><span class="smcap">The Evolution of French Gardens</span></td><td align='right'><a href='#Page_14'><b>14</b></a></td></tr>
+<tr><td align='right'>III.</td><td align='left'><span class="smcap">The Royal Hunt in France</span></td><td align='right'><a href='#Page_43'><b>43</b></a></td></tr>
+<tr><td align='right'>IV.</td><td align='left'><span class="smcap">The Palais de la Cit&eacute; and Tournelles</span></td><td align='right'><a href='#Page_61'><b>61</b></a></td></tr>
+<tr><td align='right'>V.</td><td align='left'><span class="smcap">The Old Louvre and Its History</span></td><td align='right'><a href='#Page_75'><b>75</b></a></td></tr>
+<tr><td align='right'>VI.</td><td align='left'><span class="smcap">The Louvre of Francis I and Its Successors</span></td><td align='right'><a href='#Page_85'><b>85</b></a></td></tr>
+<tr><td align='right'>VII.</td><td align='left'><span class="smcap">The Tuileries and Its Gardens</span></td><td align='right'><a href='#Page_106'><b>106</b></a></td></tr>
+<tr><td align='right'>VIII.</td><td align='left'><span class="smcap">The Palais Cardinal and the Palais Royal</span></td><td align='right'><a href='#Page_131'><b>131</b></a></td></tr>
+<tr><td align='right'>IX.</td><td align='left'><span class="smcap">The Luxembourg, the Elys&eacute;e and the Palais Bourbon</span></td><td align='right'><a href='#Page_151'><b>151</b></a></td></tr>
+<tr><td align='right'>X.</td><td align='left'><span class="smcap">Vincennes and Conflans</span></td><td align='right'><a href='#Page_168'><b>168</b></a></td></tr>
+<tr><td align='right'>XI.</td><td align='left'><span class="smcap">Fontainebleau and Its Forest</span></td><td align='right'><a href='#Page_180'><b>180</b></a></td></tr>
+<tr><td align='right'>XII.</td><td align='left'><span class="smcap">By the Banks of the Seine</span></td><td align='right'><a href='#Page_203'><b>203</b></a></td></tr>
+<tr><td align='right'>XIII.</td><td align='left'><span class="smcap">Malmaison and Marly</span></td><td align='right'><a href='#Page_215'><b>215</b></a></td></tr>
+<tr><td align='right'>XIV.</td><td align='left'><span class="smcap">Saint Cloud and Its Park</span></td><td align='right'><a href='#Page_229'><b>229</b></a></td></tr>
+<tr><td align='right'>XV.</td><td align='left'><span class="smcap">Versailles: The Glory of France</span></td><td align='right'><a href='#Page_244'><b>244</b></a></td></tr>
+<tr><td align='right'>XVI.</td><td align='left'><span class="smcap">The Gardens of Versailles and the Trianons</span></td><td align='right'><a href='#Page_260'><b>260</b></a></td></tr>
+<tr><td align='right'>XVII.</td><td align='left'><span class="smcap">Saint Germain-en-Laye</span></td><td align='right'><a href='#Page_279'><b>279</b></a><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></td></tr>
+<tr><td align='right'>XVIII.</td><td align='left'><span class="smcap">Maintenon</span></td><td align='right'><a href='#Page_296'><b>296</b></a></td></tr>
+<tr><td align='right'>XIX.</td><td align='left'><span class="smcap">Rambouillet and Its Forest</span></td><td align='right'><a href='#Page_309'><b>309</b></a></td></tr>
+<tr><td align='right'>XX.</td><td align='left'><span class="smcap">Chantilly</span></td><td align='right'><a href='#Page_324'><b>324</b></a></td></tr>
+<tr><td align='right'>XXI.</td><td align='left'><span class="smcap">Compi&egrave;gne and Its Forest</span></td><td align='right'><a href='#Page_342'><b>342</b></a></td></tr>
+<tr><td align='right'>&nbsp;</td><td align='left'><span class="smcap">Index</span></td><td align='right'><a href='#Page_363'><b>363</b></a></td></tr>
+</table></div>
+
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus013.jpg" width="650" height="373" alt="" title="Illustrations" />
+</div>
+
+
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="Illustrations">
+<tr><td align='left'><span class="smcap">Terrace of Henri IV, Saint Germain</span></td><td align='right'><a href='#frontis'><b><i>Frontispiece</i></b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Louvre, the Tuileries and the Palais Royal of To-day</span></td><td align='right'><a href='#Page_12'><b>12</b></a></td></tr>
+<tr><td align='left'><span class="smcap">"Jardin Fran&ccedil;ais&mdash;Jardin Anglais"</span></td><td align='right'><a href='#Page_15'><b>15</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Henri IV in an Old French Garden</span></td><td align='right'><a href='#Page_20'><b>20</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Parterre de Diane, Chenonceaux</span></td><td align='right'><a href='#Page_27'><b>27</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Plan of Sunken Garden (Jardin Creux)</span></td><td align='right'><a href='#Page_30'><b>30</b></a></td></tr>
+<tr><td align='left'><span class="smcap">A Parterre</span></td><td align='right'><a href='#Page_32'><b>32</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Bassin de la Couronne, Vaux-le-Vicomte</span></td><td align='right'><a href='#Page_42'><b>42</b></a></td></tr>
+<tr><td align='left'><span class="smcap">A "Cur&eacute;e aux Flambeaux"</span></td><td align='right'><a href='#Page_46'><b>46</b></a></td></tr>
+<tr><td align='left'><span class="smcap">An Imperial Hunt at Fontainebleau</span></td><td align='right'><a href='#Page_52'><b>52</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Rendezvous de Chasse, Rambouillet</span></td><td align='right'><a href='#Page_56'><b>56</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Bird's Eye View of Old Paris</span> (Map)</td><td align='right'><a href='#Page_74'><b>74</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The XIV Century Louvre</span></td><td align='right'><a href='#Page_82'><b>82</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Louvre</span></td><td align='right'><a href='#Page_90'><b>90</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Original Plan of the Tuileries</span> (Diagram)</td><td align='right'><a href='#Page_106'><b>106</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Salle des Marechaux, Tuileries</span></td><td align='right'><a href='#Page_116'><b>116</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Galleries of the Palais Royal</span></td><td align='right'><a href='#Page_146'><b>146</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Bourbon-Orleans Descendants of Louis Philippe</span> (Diagram)</td><td align='right'><a href='#Page_147'><b>146</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Palais du Luxembourg</span></td><td align='right'><a href='#Page_154'><b>154</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Door in Throne Room, Luxembourg</span></td><td align='right'><a href='#Page_156'><b>156</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Petit Luxembourg</span></td><td align='right'><a href='#Page_156'><b>156</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Luxembourg Gardens</span></td><td align='right'><a href='#Page_158'><b>158</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Throne of the Palais Bourbon</span></td><td align='right'><a href='#Page_161'><b>161</b></a></td></tr>
+<tr><td align='left'><span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span><span class="smcap">Vincennes Under Charles V</span></td><td align='right'><a href='#Page_168'><b>168</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chateau de Vincennes</span></td><td align='right'><a href='#Page_172'><b>172</b></a></td></tr>
+<tr><td align='left'><span class="smcap">A Hunt under the Walls of Vincennes</span></td><td align='right'><a href='#Page_174'><b>174</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Conflans</span></td><td align='right'><a href='#Page_176'><b>176</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Original Plan of Fontainebleau</span></td><td align='right'><a href='#Page_180'><b>180</b></a></td></tr>
+<tr><td align='left'><span class="smcap">From Paris to Fontainebleau</span> (Map)</td><td align='right'><a href='#Page_181'><b>180</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Palais de Fontainebleau</span></td><td align='right'><a href='#Page_186'><b>186</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Salle du Throne, Fontainebleau</span></td><td align='right'><a href='#Page_190'><b>190</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Fragments from Fontainebleau</span></td><td align='right'><a href='#Page_192'><b>192</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chemin&eacute;e de la Reine, Fontainebleau</span></td><td align='right'><a href='#Page_194'><b>194</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Monument to Rousseau and Millet at Barbison</span></td><td align='right'><a href='#Page_200'><b>200</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chateau de Bagatelle</span></td><td align='right'><a href='#Page_204'><b>204</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chateau de Malmaison</span></td><td align='right'><a href='#Page_218'><b>218</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Gardens of Saint Cloud</span></td><td align='right'><a href='#Page_236'><b>236</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Cascades at Saint Cloud</span></td><td align='right'><a href='#Page_240'><b>240</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Cour de Marbre, Versailles</span></td><td align='right'><a href='#Page_264'><b>264</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Potager du Roy, Versailles</span></td><td align='right'><a href='#Page_270'><b>270</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Bassin de Latone, Versailles</span></td><td align='right'><a href='#Page_272'><b>272</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Fountain of Neptune, Versailles</span></td><td align='right'><a href='#Page_274'><b>274</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Petit Trianon</span></td><td align='right'><a href='#Page_276'><b>276</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Laiterie de la Reine, Petit Trianon</span></td><td align='right'><a href='#Page_277'><b>277</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Saint Germain</span> (Diagram)</td><td align='right'><a href='#Page_280'><b>280</b></a></td></tr>
+<tr><td align='left'><span class="smcap">The Valley of the Seine, from the Terrace at Saint Germain</span></td><td align='right'><a href='#Page_288'><b>288</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Fauteuil of Mme. de Maintenon</span></td><td align='right'><a href='#Page_297'><b>297</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chateau de Maintenon</span></td><td align='right'><a href='#Page_300'><b>300</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Aqueduct of Louis XIV at Maintenon</span></td><td align='right'><a href='#Page_306'><b>306</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chateau de Rambouillet</span> (Diagram)</td><td align='right'><a href='#Page_309'><b>309</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Laiterie de la Reine, Rambouillet</span></td><td align='right'><a href='#Page_312'><b>312</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chateau de Rambouillet</span></td><td align='right'><a href='#Page_316'><b>316</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chantilly</span> (Diagram)</td><td align='right'><a href='#Page_325'><b>325</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Statue of Le Notre, Chantilly</span></td><td align='right'><a href='#Page_326'><b>326</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Chateau de Chantilly</span></td><td align='right'><a href='#Page_336'><b>336</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Compi&egrave;gne</span> (Diagram)</td><td align='right'><a href='#Page_343'><b>343</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Napoleon's Bedchamber, Compi&egrave;gne</span></td><td align='right'><a href='#Page_352'><b>352</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Cours de Compi&egrave;gne</span></td><td align='right'><a href='#Page_356'><b>356</b></a></td></tr>
+</table></div>
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><br /><br /><a name="Royal_Palaces_and_Parks_of_France" id="Royal_Palaces_and_Parks_of_France"></a>Royal Palaces and Parks of France<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h2>
+
+<h3>INTRODUCTORY</h3>
+
+
+<p>The modern traveller sees something beyond mere facts. Historical
+material as identified with the life of some great architectural glory
+is something more than a mere repetition of chronologies; the sidelights
+and the co-related incidents, though indeed many of them may be but
+hearsay, are quite as interesting, quite as necessary, in fact, for the
+proper appreciation of a famous palace or chateau as long columns of
+dates, or an evolved genealogical tree which attempts to make plain that
+which could be better left unexplained. The glamour of history would be
+considerably dimmed if everything was explained, and a very seamy block
+of marble may be chiselled into a very acceptable statue if the workman
+but knows how to avoid the doubtful parts.<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+
+<p>An itinerary that follows not only the ridges, but occasionally plunges
+down into the hollows and turns up or down such crossroads as may have
+chanced to look inviting, is perhaps more interesting than one laid out
+on conventional lines. A shadowy something, which for a better name may
+be called sentiment, if given full play encourages these side-steps, and
+since they are generally found fruitful, and often not too fatiguing,
+the procedure should be given every encouragement.</p>
+
+<p>Not all the interesting royal palaces and chateaux of France are those
+with the best known names. Not all front on Paris streets and quays, no
+more than the best glimpses of ancient or modern France are to be had
+from the benches of a sight-seeing automobile.</p>
+
+<p>Versailles, and even Fontainebleau, are too frequently considered as but
+the end of a half-day pilgrimage for the tripper. It were better that
+one should approach them more slowly, and by easy stages, and leave them
+less hurriedly. As for those architectural monuments of kings, which
+were tuned in a minor key, they, at all events, need to be hunted down
+on the spot, the enthusiast being forearmed with such scraps of historic
+fact as he can gather beforehand, otherwise he will see nothing at
+Conflans, Marly or<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> Bourg-la-Reine which will suggest that royalty ever
+had the slightest concern therewith.</p>
+
+<p>Dealing first with Paris it is evident it is there that the pilgrim to
+French shrines must make his most profound obeisance. This applies as
+well to palaces as to churches. In all cases one goes back into the past
+to make a start, and old Paris, what there is left of it, is still old
+Paris, though one has to leave the grand boulevards to find this out.</p>
+
+<p>Colberts and Haussmanns do not live to-day, or if they do they have
+become so "practical" that a drainage canal or an overhead or
+underground railway is more of a civic improvement than the laying out
+of a public park, like the gardens of the Tuileries, or the building and
+embellishment of a public edifice&mdash;at least with due regard for the best
+traditions. When the monarchs of old called in men of taste and culture
+instead of "business men" they builded in the most agreeable fashion. We
+have not improved things with our "systems" and our committees of
+"<i>hommes d'affaires</i>."</p>
+
+<p>It is the fashion to-day to decry the cavaliers and the wearers of
+"love-locks," but they had a pretty taste in art and an eye for artistic
+surroundings, those old fellows of the sword and cloak; a much more
+pretty taste than their de<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>scendants, the steam-heat and running-water
+partisans of to-day. Louis XV and Empire drawing and dining-rooms are
+everywhere advertised as the attractions of the great palace hotels, and
+some of them are very good copies of their predecessors, though one
+cannot help but feel that the clientele as a whole is more insistent on
+telephones in the bedrooms and auto-taxis always on tap than with regard
+to the sentiment of good taste and good cheer which is to be evoked by
+eating even a hurried meal in a room which reproduces some historically
+famous Salle des Gardes or the Chambre of the &OElig;il de B&oelig;uf of the
+Louvre, if, indeed, most of the hungry folk know what their surroundings
+are supposed to represent.</p>
+
+<p>Any chronicle which attempts to set down a record of the comings and
+goings of French monarchs is saved from being a mere dull chronology of
+dates and r&eacute;sum&eacute; of facts by its obligatory references to the architects
+and builders who made possible the splendid settings amid which these
+picturesque rulers passed their lives.</p>
+
+<p>The castle builders of France, the garden designers, the architects,
+decorators and craftsmen of all ranks produced not a medley, but a
+coherent, cohesive whole, which stands apart from, and far ahead of,
+most of the contemporary work<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> of its kind in other lands. Castles and
+keeps were of one sort in England and Scotland, of still another along
+the Rhine, and if the Renaissance palaces and chateaux first came into
+being in Italy it is certain they never grew to the flowering luxuriance
+there that they did in France.</p>
+
+<p>Thus does France establish itself as leader in new movements once again.
+It was so in the olden time with the arts of the architect, the
+landscape gardener and the painter; it is so to-day with respect to such
+mundane, less sentimental things as automobiles and aeroplanes.</p>
+
+<p>Another chapter, in a story long since started, is a repetition, or
+review, of the outdoor life of the French monarchs and their followers.
+Not only did Frenchmen of Gothic and Renaissance times have a taste for
+travelling far afield, pursuing the arts of peace or war as their
+conscience or conditions dictated; but they loved, too, the open country
+and the open road at home; they loved also <i>la chasse</i>, as they did
+tournaments, <i>f&ecirc;tes-champ&ecirc;tres</i> and outdoor spectacles of all kinds. Add
+these stage settings to the splendid costuming and the flamboyant
+architectural accessories of Renaissance times in France and we have
+what is assuredly not to be found in other lands, a spectacular and
+imposing pageant of medi&aelig;val and Renaissance life and manners<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> which is
+superlative from all points of view.</p>
+
+<p>This is perhaps hard, sometimes, to reconcile with the French attitude
+towards outdoor life to-day, when <i>la chasse</i> means the hunting of tame
+foxes (a sport which has been imported from across the channel),
+"<i>sport</i>" means a prize fight, and a garden party or a <i>f&ecirc;te-champ&ecirc;tre</i>
+a mere gossiping rendezvous over a cup of badly made tea. In the France
+of the olden time they did things differently&mdash;and better.</p>
+
+<p>Not all French history was made, or written, within palace walls; much
+of it came into being in the open air, like the two famous meetings by
+the Bidassoa, Napoleon's first sight of Marie Louise on the highroad
+leading out from Senlis, or his making the Pope a prisoner at the Croix
+de Saint H&eacute;ram, in the Forest of Fontainebleau.</p>
+
+<p>It is this change of scene that makes French history so appealing to
+those who might otherwise let it remain in shut-up and dry-as-dust books
+on library shelves.</p>
+
+<p>The French monarchs of old were indeed great travellers, and it is by
+virtue of the fact that affairs of state were often promulgated and
+consummated <i>en voyage</i> that a royal stamp came to be acquired by many a
+chateau or country-house which to-day would hardly otherwise be
+considered as of royal rank.<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+
+<p>Throughout France, notably in the neighbourhood of Paris, are certain
+chateaux&mdash;palaces only by lack of name&mdash;of the nobility where royalties
+were often as much at home as under their own royal standards. One
+cannot attempt to confine the limits where these chateaux are to be
+found, for they actually covered the length and breadth of France.</p>
+
+<p>Journeying afield in those romantic times was probably as comfortably
+accomplished, by monarchs at least, as it is to-day. What was lacking
+was speed, but they lodged at night under roofs as hospitable as those
+of the white and gold caravanserai (and some more humble) which perforce
+come to be temporary abiding places of royalties <i>en tour</i> to-day. The
+writer has seen the Dowager Queen of Italy lunching at a neighbouring
+table at a roadside <i>trattoria</i> in Piedmont which would have no class
+distinction whatever as compared with the average suburban road-house
+across the Atlantic. At Biarritz, too, the automobiling monarch,
+Alphonse XIII, has been known to take "tea" on the terrace of the great
+tourist-peopled hotel in company with mere be-goggled commoners. <i>Le
+temps va!</i> Were monarchs so democratic in the olden time, one wonders.</p>
+
+<p>The court chronicles of all ages, and all ranks,<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> have proved a gold
+mine for the makers of books of all sorts and conditions. Not only court
+chroniclers but pamphleteers, even troubadours and players, have
+contributed much to the records of the life of medi&aelig;val France. All
+history was not made by political intrigue or presumption; a good deal
+of it was born of the gentler passions, and a chap-book maker would put
+often into print many accounts which the recorder of mere history did
+not dare use. History is often enough sorry stuff when it comes to human
+interest, and it needs editing only too often.</p>
+
+<p>Courtiers and the fashionable world of France, ever since the days of
+the poetry-making and ballad-singing Francis and Marguerite, and before,
+for that matter, made of literature&mdash;at least the written and spoken
+chronicle of some sort&mdash;a diversion and an accomplishment. Royal or
+official patronage given these medi&aelig;val story-tellers did not always
+produce the truest tales. Then, as now, writer folk were wont to
+exaggerate, but most of their work made interesting reading.</p>
+
+<p>These courtiers of the itching pen did not often write for money. Royal
+favour, or that of some fair lady, or ladies, was their chief return in
+many more cases than those for which their accounts were settled by mere
+dross. It is in the work<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> of such chroniclers as these that one finds a
+fund of unrepeated historic lore.</p>
+
+<p>The dramatists came on the scene with their plots ready-made (and have
+been coming ever since, if one recalls the large number of French
+costume plays of recent years), and whether they introduced errors of
+fact, or not, there was usually so much truth about their work that the
+very historians more than once were obliged to have recourse to the
+productions of their colleagues. The dramatists' early days in France,
+as in England, were their golden days. The mere literary man, or
+chronicler, was often flayed alive, but the dramatist, even though he
+dished up the foibles of a king, and without any dressing at that, was
+f&ecirc;ted and made as much of as a record piano player of to-day.</p>
+
+<p>One hears a lot about the deathbed scribblers in England in the
+sixteenth and seventeenth centuries, but there was not much of that sort
+of thing in France. No one here penned bitter jibes and lascivious
+verses merely to keep out of jail, as did Nash and Marlowe in England.
+In short, one must give due credit to the court chroniclers and
+ballad-singers of France as being something more than mere pilfering,
+blackmailing hacks.</p>
+
+<p>All the French court and its followers in the<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> sixteenth century shouted
+epigrams and affected being greater poets than they really were. It was
+a good sign, and it left its impress on French literature. Following in
+the footsteps of Francis I and the two Marguerites nobles vied with each
+other in their efforts to produce some epoch-making work of poesy or
+prose, and while they did not often publish for profit they were glad
+enough to see themselves in print. Then there were also the professional
+men of letters, as distinct from the courtiers with literary ambitions,
+the churchmen and courtly attach&eacute;s of all ranks with the literary bee
+humming in their bonnets. They, too, left behind them an imposing
+record, which has been very useful to others coming after who were
+concerned with getting a local colour of a brand which should look
+natural.</p>
+
+<p>It is with such guiding lights as are suggested by the foregoing r&eacute;sum&eacute;
+that one seeks his clues for the repicturing of the circumstances under
+which French royal palaces were erected, as well as for the truthful
+repetition of the ceremonies and functions of the times, for the court
+life of old, whether in city palace or country chateau, was a very
+different thing from that of the Republican r&eacute;gime of to-day.</p>
+
+<p>Not only were the royal Paris dwellings, from<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> the earliest times, of a
+profound luxuriance of design and execution, but the private hotels, the
+palaces, one may well say, of the nobility were of the same superlative
+order, and kings and queens alike did not disdain to lodge therein on
+such occasions as suited their convenience. The suggestive comparison is
+made because of the close liens with which royalty and the higher
+nobility were bound.</p>
+
+<p>It is sufficient to recall, among others of this class, the celebrated
+Hotel de Beauvais which will illustrate the reference. Not only was this
+magnificent town house of palatial dimensions, but it was the envy of
+the monarchs themselves, because of its refined elegance of
+construction. This edifice exists to-day, in part, at No. 68 Rue
+Fran&ccedil;ois Miron, and the visitor may judge for himself as to its former
+elegance.</p>
+
+<p>Loret, in his "Gazette" in verse, recounts a visit made to the Hotel de
+Beauvais in 1663 by Marie Th&eacute;r&egrave;se, the Queen of Louis XIV.</p>
+
+<p>
+<span style="margin-left: 3em;">Mercredi, notre auguste Reine,</span><br />
+<span style="margin-left: 3em;">Cette charmante souveraine,</span><br />
+<span style="margin-left: 3em;">Fut chez Madame de Beauvais</span><br />
+<span style="margin-left: 3em;">Pour de son amiable palais</span><br />
+<span style="margin-left: 3em;">Voir les merveilles &eacute;tonnantes</span><br />
+<span style="margin-left: 3em;">Et les raret&eacute;s surprenantes.</span><br />
+</p>
+
+<p>Times have changed, for the worse or for the better. The sedan-chair and
+the coach have<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> given way to the automobile and the engine, and the wood
+fire to a stale calorifer, or perhaps a gas-log.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus027.jpg" width="650" height="352" alt="" title="The Louvre To-Day" /><br /><span class="link"><a href="images/illus027full.jpg">View larger image</a></span>
+</div>
+
+<p>The comparisons <i>are</i> odious; there is no question as to this; but it is
+by contrast that the subject is made the more interesting.</p>
+
+<p>From the old Palais des Thermes (now a part of the Mus&eacute;e de Cluny) of
+the Roman emperors down through the Palais de la Cit&eacute; (where lodged the
+kings of the first and second races) to the modern installations of the
+Louvre is a matter of twelve centuries. The record is by no means a
+consecutive one, but a record exists which embraces a dozen, at least,
+of the Paris abodes of royalty, where indeed they lived according to
+many varying scales of comfort and luxury.</p>
+
+<p>Not all the succeeding French monarchs had the abilities or the
+inclinations that enabled them to keep up to the traditions of the
+art-loving Francis I, but almost all of their number did something
+creditable in building or decoration, or commanded it to be done.</p>
+
+<p>Louis XIV, though he delayed the adjustment of Europe for two centuries,
+was the first real beautifier of Paris since Philippe Auguste. Privately
+his taste in art and architecture was rather ridiculous, but publicly he
+and his architects achieved great things in the general scheme.</p>
+
+
+
+<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+<p>Napoleon I, in turn, caught up with things in a political sense, in
+truth he ran ahead of them, but he in no way neglected the
+embellishments of the capital, and added a new wing to the Louvre, and
+filled Mus&eacute;es with stolen loot, which remorse, or popular clamour,
+induced him, for the most part, to return at a later day.</p>
+
+<p>In a decade Napoleon made much history, and he likewise did much for the
+royal palaces of France. After him a gap supervened until the advent of
+Napoleon III, who, weakling that he was, had the perspicacity to give
+the Baron Haussmann a chance to play his part in the making of modern
+Paris, and if the Tuileries and Saint Cloud had not disappeared as a
+result of his indiscretion the period of the Second Empire would not
+have been at all discreditable, as far as the impress it left on Paris
+was concerned.<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h2>
+
+<h3>THE EVOLUTION OF FRENCH GARDENS</h3>
+
+
+<p>The French garden was a creation of all epochs from the fifteenth to the
+seventeenth centuries, and, for the most part, those of to-day and of
+later decades of the nineteenth century, are adaptations and
+restorations of the classic accepted forms.</p>
+
+<p>From the modest <i>jardinet</i> of the moyen-age to the ample gardens and
+<i>parterres</i> of the Renaissance was a wide range. In their highest
+expression these early French gardens, with their <i>broderies</i> and
+<i>carreaux</i> may well be compared as works of art with contemporary
+structures in stone or wood or stuffs in woven tapestries, which latter
+they greatly resembled.</p>
+
+<p>Under Louis XIV and Louis XV the elaborateness of the French garden was
+even more an accentuated epitome of the tastes of the period. Near the
+end of the eighteenth century a marked deterioration was noticeable and
+a separation of the tastes which ordained the arrangement of
+contemporary dwellings and their gardens<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> was very apparent. Under the
+Empire the antique style of furniture and decoration was used too, but
+there was no contemporary expression with regard to garden making.</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus031tb.jpg" width="600" height="442" alt="" title="JARDIN FRAN&Ccedil;AIS &mdash;JARDIN ANGLAIS" />
+<br /><span class="link"><a href="images/illus031.jpg">View larger image</a></span>
+</div>
+
+
+<p>In the second half of the nineteenth century, under the Second Empire,
+the symmetrical lines of the old-time <i>parterres</i> came again into being,
+and to them were attached composite elements or motives, which more
+closely resembled details of the conventional English garden than
+anything distinctly French.</p>
+
+<p>The English garden was, for the most part, pure affectation in France,
+or, at best, it was treated<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> as a frank exotic. Even to-day, in modern
+France, where an old dwelling of the period of Henri IV, Fran&ccedil;ois I,
+Louis XIII, Louis XIV, or Louis XV still exists with its garden, the
+latter is more often than not on the classically pure French lines,
+while that of a modern cottage, villa or chateau is often a poor,
+variegated thing, fantastic to distraction.</p>
+
+<p>Turning back the pages of history one finds that each people, each
+century, possessed its own specious variety of garden; a species which
+responded sufficiently to the tastes and necessities of the people, to
+their habits and their aspirations.</p>
+
+<p>Garden-making, like the art of the architect, differed greatly in
+succeeding centuries, and it is for this reason that the garden of the
+moyen-age, of the epoch of the Crusades, for example, did not bear the
+least resemblance to the more ample <i>parterres</i> of the Renaissance.
+Civilization was making great progress, and it was necessary that the
+gardens should be in keeping with a less restrained, more luxurious
+method of life.</p>
+
+<p>If the gardens of the Renaissance marked a progress over the <i>preaux</i>
+and <i>jardinets</i> of medi&aelig;valism, those of Le Notre were a blossoming
+forth of the Renaissance seed. Regretfully, one cannot say as much for
+the garden plots of the<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> eighteenth century, and it was only with the
+mid-nineteenth century that the general outlines took on a real charm
+and attractiveness again, and this was only achieved by going back to
+original principles.</p>
+
+<p>The first gardens were the <i>vergers</i> and <i>preaux</i>, little checker-board
+squares of a painful primitiveness as compared with later standards.
+These squares, or <i>carreaux</i>, were often laid out in foliage and
+blossoming plants as suggestive as possible of their being made of
+carpeting or marble. When these miniature enclosures came to be
+surrounded with trellises and walls the Renaissance in garden-making may
+be considered as having been in full sway.</p>
+
+<p>Under Louis XIV a certain affluence was noticeable in garden plots, and
+with Louis XV an even more notable symmetry was apparent in the
+disposition of the general outlines. By this time, the garden in France
+had become a frame which set off the architectural charms of the
+dwelling rather than remaining a mere accessory, but it was only with
+the replacing of the castle-fortress by the more domesticated chateau
+that a really generous garden space became a definite attribute of a
+great house.</p>
+
+<p>The first gardens surrounding the French chateaux were developments, or
+adaptations,<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> of Italian gardens, such as were designed across the Alps
+by Mercogliano, during the feudal period.</p>
+
+<p>Later, and during the time of the Crusades, the garden question hardly
+entered into French life. Gardens, like all other luxuries, were given
+little thought when the graver questions of peace and security were to
+be considered, and, for this reason, there is little or nothing to say
+of French gardens previous to the twelfth century.</p>
+
+<p>An important species of the gardens of the moyen-age was that which was
+found as an adjunct to the great monastic institutions, the <i>preaux</i>,
+which were usually surrounded by the cloister colonnade. One of the most
+important of these, of which history makes mention, was that of the
+Abbaye de Saint Gall, of which Charlemagne was capitular. It was he who
+selected the plants and vegetables which the dwellers therein should
+cultivate.</p>
+
+<p>Of the twelfth and thirteenth centuries there is an abundant literary
+record, and, in a way, a pictorial record as well. From these one can
+make a very good deduction of what the garden of that day was like;
+still restrained, but yet something more than rudimentary. From now on
+French gardens were divided specifically into the <i>potager</i> and
+<i>verger</i>.<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+
+<p>The <i>potager</i> was virtually a vegetable garden within the walls which
+surrounded the seigneurial dwelling, and was of necessity of very
+limited extent, chiefly laid out in tiny <i>carreaux</i>, or beds, bordered
+by tiles or bricks, much as a small city garden is arranged to-day. Here
+were cultivated the commonest vegetables, a few flowers and a liberal
+assortment of herbs, such as rue, mint, parsley, sage, lavender, etc.</p>
+
+<p>The <i>verger</i>, or <i>viridarium</i>, was practically a fruit garden, as it is
+to-day, with perhaps a generous sprinkling of flowers and aromatic
+plants. The <i>verger</i> was always outside the walls, but not far from the
+entrance or the drawbridge crossing the moat and leading to the chateau.</p>
+
+<p>It was to the <i>verger</i>, or orchard, curiously enough, that in times of
+peace the seigneur and his family retired after luncheon for diversion
+or repose.</p>
+
+<p>
+<span style="margin-left: 3em;">"D illocques vieng en cest vergier</span><br />
+<span style="margin-left: 3em;">Eascuns jour pour s'esbanoier."</span><br />
+</p>
+
+<p>Thus ran a couplet of the "Roman de Th&egrave;bes"; and of the hundred or more
+tales of chivalry in verse, which are recognized as classic, nearly all
+make mention of the <i>verger</i>.</p>
+
+<p>It was here that young men and maidens came in springtime for the f&ecirc;te
+of flowers, when they<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> wove chaplets and garlands, for the moyen-age had
+preserved the antique custom of the coiffure of flowers, that is to say
+hats of natural flowers, as we might call them to-day, except that
+modern hats seemingly call for most of the products of the barnyard and
+the farm in their decoration, as well as the flowers of the field.</p>
+
+<div class="figcenter" style="width: 376px;">
+<img src="images/illus037.jpg" width="376" height="600" alt="Henri IV in an Old French Garden" title="" />
+<span class="caption"><i>Henri IV in an Old French Garden</i></span>
+</div>
+
+<p>The rose was queen among all these flowers and then came the lily and
+the carnation, chiefly in their simple, savage state, not the highly
+cultivated product of to-day. From the ballads and the love songs, one
+gathers that there were also violets, eglantine, daisies, pansies,
+forget-me-nots, and the marguerite, or <i>consoude</i>, was one of the most
+loved of all.</p>
+
+<p>The carnation, or <i>&oelig;illet</i>, was called <i>armerie</i>; the pansy was
+particularly in favour with the ladies, who embroidered it on their
+handkerchiefs and their girdles. Still other flowers found a place in
+this early horticultural catalogue, the marigold, gladiolus, stocks,
+lily-of-the-valley and buttercups.</p>
+
+<p>Frequently the <i>verger</i> was surrounded by a protecting wall, of more or
+less architectural pretense, with towers and accessories conforming to
+the style of the period, and decorative and utilitarian fountains,
+benches and seats were also common accessories.</p>
+
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+
+<p>The old prints, which reproduced these early French gardens, are most
+curious to study, amusing even; but their point of view was often
+distorted as to perspective. In the thirteenth and fourteenth centuries,
+perspective was almost wholly ignored in pictorial records. There was
+often no scale, and no depth; everything was out of proportion with
+everything else, and for this reason it is difficult to judge of the
+exact proportions of many of these early French gardens.</p>
+
+<p>The origin of garden-making in France, in the best accepted sense of the
+term, properly began with the later years of the thirteenth century and
+the early years of the fourteenth; continuing the tradition, remained
+distinctly French until the mid-fifteenth century, for the Italian
+influence did not begin to make itself felt until after the Italian wars
+and travels of Charles VIII, Louis XI and Francis I.</p>
+
+<p>The earliest traces of the work of the first two of these monarchs are
+to be seen at Blois and, for a time henceforth, it is to be presumed
+that all royal gardens in France were largely conceived under the
+inspiration of Italian influences. Before, as there were primitives in
+the art of painting in France, there were certainly French gardeners in
+the fourteenth and fifteenth centuries. One of these, whoever he<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> may
+have been, was the designer of the <i>preaux</i> and the <i>treilles</i> of the
+Louvre of Charles V, of which a pictorial record exists, and he, or
+they, did work of a like nature for the powerful house of Bourgogne, and
+for Ren&eacute; d'Anjou, whom we know was a great amateur gardener.</p>
+
+<p>The archives of these princely houses often recount the expenses in
+detail, and so numerous are certain of them that it would not be
+difficult to picture anew as to just what they referred.</p>
+
+<p>Debanes, the gardener of the Chateau d'Angers, on a certain occasion,
+gave an accounting for "X Sols" for repairing the grass-plots and for
+making a <i>petit preau</i>. Again: "XI Sols" for the employ of six gardeners
+to trim the vines and clean up the alleys of the <i>grand</i> and <i>petit
+jardin</i>.</p>
+
+<p>Luxury in all things settled down upon all France to a greater degree
+than hitherto in the fourteenth and fifteenth centuries, and almost
+without exception princely houses set out to rival one another in the
+splendour of their surroundings. Now came in the ornamental garden as
+distinct from the <i>verger</i>, and the <i>preau</i> became a greensward
+accessory, at once practical and decorative, the precursor of the
+<i>pelouse</i> and the <i>parterre</i> of Le Notre.</p>
+
+<p>The <i>preau</i> (in old French <i>prael</i>) was a symmetrical square or
+rectangular grass-grown gar<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>den plot. From the Latin <i>pratum</i>, or
+<i>pratellum</i>, the words <i>preau</i>, <i>pr&eacute;</i> and <i>prairie</i> were evolved
+naturally enough, and came thus early to be applied in France to that
+portion of the pleasure garden set out as a grassy lawn. The word is
+very ancient, and has come down to us through the monkish vocabulary of
+the cloister.</p>
+
+<p>Some celebrated verse of Christine de Pisan, who wrote "The Life of
+Charles V," thus describes the cloister at Poissy.</p>
+
+<p>
+<span style="margin-left: 3em;">"Du cloistre grand large et especieux</span><br />
+<span style="margin-left: 3em;">Que est carr&eacute;, et, afin qu'il soit mieulx</span><br />
+<span style="margin-left: 3em;">A un prael, ou milieu, gracieux</span><br />
+<span style="margin-left: 3em;">Vert sans grappin</span><br />
+<span style="margin-left: 3em;">Ou a plant&eacute; en my un tr&egrave;s hault pin."</span><br />
+</p>
+
+<p>It was at this period, that of Saint Louis and the apotheosis of Gothic
+architecture, that France was at the head of European civilization,
+therefore in no way can her pre&euml;minence in garden-making be questioned.</p>
+
+<p>The gardens of the Gothic era seldom surpassed the <i>enclos</i> with a
+rivulet passing through it, a spring, a pine tree giving a welcome
+shade, some simple flowers and a <i>verger</i> of fruit trees.</p>
+
+<p>The neighbours of France were often warring among themselves but the
+Grand Seigneur here was settling down to beautifying his surround<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>ings
+and framing his chateaux, manors and country-seats in dignified and most
+appealing pictures. Grass-plots appeared in dooryards, flowers climbed
+up along castle walls and shrubs and trees came to play a genuinely
+esthetic r&ocirc;le in the life of the times.</p>
+
+<p>An illustrious stranger, banished from Italy, one Brunetto Latini, the
+master of Dante, who had sought a refuge in France, wrote his views on
+the matter, which in substance were as above.</p>
+
+<p>About this time originated the progenitors of the <i>gloriettes</i>, which
+became so greatly the vogue in the eighteenth century. Practically the
+<i>gloriette</i>, a word in common use in northern France and in Flanders,
+was a <i>logette de plaisance</i>. The Spaniards, too, in their <i>glorietta</i>,
+a pavilion in a garden, had practically the same signification of the
+word.</p>
+
+<p>In the fourteenth century French garden the <i>gloriette</i> was a sort of
+arbour, or trellis-like summer-house, garnished with vines and often
+perched upon a natural or artificial eminence. Other fast developing
+details of the French garden were tree-bordered alleys and the planting
+of more or less regularly set-out beds of flowering plants.</p>
+
+<p>Vine trellises and vine-clad pavilions and groves were a speedy
+development of these details, and<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> played parts of considerable
+importance in gardening under the French Renaissance.</p>
+
+<p>In this same connection there is a very precise record in an account of
+the gardens of the Louvre under Charles V concerning the contribution of
+one, Jean Baril, maker of Arlors, to this form of the landscape
+architect's art.</p>
+
+<p>"Ornamental birds&mdash;peacocks, pheasants and swans now came in as adjuncts
+to the French land and water garden." This was the way a certain
+pertinent comment was made by a writer of the fifteenth century. From
+the "M&eacute;nagier de Paris," a work of the end of the fourteenth century,
+one learns that behind a dwelling of a prince or noble of the time was
+usually to be found a "<i>beau jardin tout plant&eacute; d'arbres &agrave; fruits, de
+legumes, de rosiers, orn&eacute; de voli&egrave;res et tapis&eacute; de gazon sur lesquels se
+prom&egrave;nent les paons</i>."</p>
+
+<p>French gardens of various epochs are readily distinguished by the width
+of their alleys. In the moyen-age the paths which separated the garden
+plots were very narrow; in the early Renaissance period they were
+somewhat wider, taking on a supreme maximum in the gardens of Le Notre.</p>
+
+<p>Trimmed trees entered into the general scheme in France towards the end
+of the fifteenth<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> century. Under Henri IV and under Louis XII trees were
+often trimmed in ungainly, fantastic forms, but with the advent of Le
+Notre the good taste which he propagated so widely promptly rejected
+these grotesques, which, for a fact, were an importation from Flanders,
+like the <i>gloriettes</i>. Not by the remotest suggestion could a clipped
+yew in the form of a peacock or a giraffe be called French. Le Notre
+eliminated the menagerie and the aviary, but kept certain geometrical
+forms, particularly with respect to hedges, where niches were frequently
+trimmed out for the placing of statues, columns surmounted with golden
+balls, etc.</p>
+
+<p>The most famous of the frankly Renaissance gardens developed as a result
+of the migrations of the French monarchs in Italy were those surrounding
+such palaces and chateaux as Fontainebleau, Amboise, and Blois. Often
+these manifestly French gardens, though of Italian inspiration in the
+first instance, were actually the work of Italian craftsmen. Pucello
+Marceliano at four hundred <i>livres</i> and Edme Marceliano at two hundred
+<i>livres</i> were in the employ of Henri II. It was the former who laid out
+the magnificent <i>Parterre de Diane</i> at Chenonceaux, where Catherine de
+M&eacute;dici later, being smitten with the skill of the Florentines, gave the
+further commission<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> of the <i>Jardin Vert</i>, which was intended to complete
+this <i>parterre</i>, to Henri le Calabrese and Jean Collo.</p>
+
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus045.jpg" width="650" height="320" alt="&quot;Parterre de Diane," title="" />
+<span class="caption">&quot;<i>Parterre de Diane," Chenonceaux</i></span>
+</div>
+
+<p>The later Renaissance gardens divided themselves into various classes,
+<i>jardins de plaisir</i>, <i>jardins de plaisance</i>, <i>jardins de propret&eacute;</i>,
+etc. <i>Parterres</i> now became of two sorts, <i>parterres &agrave; compartiments</i>
+and <i>parterres de broderies</i>, names sufficiently explicit not to need
+further comment.</p>
+
+
+
+<p>It is difficult to determine just how garden <i>broderies</i> came into
+being. They may have been indirectly due to woman's love of embroidery
+and the garden alike. The making of these garden <i>broderies</i> was a
+highly cultivated art. Pierre Vallet, embroiderer to Henri IV, created
+much in his line of distinction and note, and acquired an extensive
+clientele for his flowers and models. Often these gardens, with their
+<i>parterres</i><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> and <i>broderies</i> were mere additions to an already existing
+architectural scheme, but with respect to the gardens of the Luxembourg
+and Saint Germain-en-Laye they came into being with the edifices
+themselves, or at least those portions which they were supposed to
+embellish. Harmony was then first struck between the works of the
+horticulturist&mdash;the garden-maker&mdash;and those of the architect&mdash;the
+builder in stone and wood. This was the prelude to those majestic
+ensembles of which Le Notre was to be the composer.</p>
+
+<p>Of the celebrated French palace and chateau gardens which are not
+centered upon the actual edifices with which they are more or less
+intimately connected, but are distinct and apart from the gardens which
+in most cases actually surround a dwelling, may be mentioned those of
+Montargis, Saint Germain, Amboise, Villers-Cotterets and Fontainebleau.
+These are rather parks, like the "home-parks," so called, in England,
+which, while adjuncts to the dwellings, are complete in themselves and
+are possessed of a separate identity, or reason for being. Chiefly
+these, and indeed most French gardens of the same epoch, differ greatly
+from contemporary works in Italy in that the latter were often built and
+terraced up and down the hillsides, whereas<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> the French garden was laid
+out, in the majority of instances, on the level, though each made use of
+interpolated architectural accessories such as balustrades, statuary,
+fountains, etc.</p>
+
+<p>Mollet was one of the most famous gardeners of the time of Louis XIV. He
+was the gardener of the Duc d'Aumale, who built the gardens of the
+Chateau d'Anet while it was occupied by Diane de Poitiers, and for their
+time they were considered the most celebrated in France for their upkeep
+and the profusion and variety of their flowers. This was the highest
+development of the French garden up to this time.</p>
+
+<p>It is possible that this Claude Mollet was the creator of the
+<i>parterres</i> and <i>broderies</i> so largely used in his time, and after.
+Mollet's formula was derived chiefly from flower and plant forms,
+resembling in design oriental embroideries. He made equal use of the
+labyrinth and the sunken garden. His idea was to develop the simple
+<i>parquet</i> into the elaborate <i>parterre</i>. He began his career under Henri
+III and ultimately became the gardener of Henri IV. His elaborate work
+"Theatre des Plans et Jardinage" was written towards 1610-1612, but was
+only published a half a century later. It was only in the sixteenth
+century that gardens in Paris were planned and developed on a scale
+which was<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> the equal of many which had previously been designed in the
+provinces.</p>
+
+<div class="figcenter" style="width: 576px;">
+<img src="images/illus048tb.jpg" width="576" height="650" alt="" title="PLAN of SUNKEN GARDEN" />
+<span class="link"><a href="images/illus048.jpg">View larger image</a></span>
+</div>
+
+
+<p>The chief names in French gardening&mdash;before the days of Le Notre&mdash;were
+those of the two Mollets, the brothers Boyceau, de la Barauderie and
+Jacques de Menours, and all successively held the post of Superintendent
+of the Garden of the King.</p>
+
+<p>In these royal gardens there was always a<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> distinctly notable feature,
+the <i>grand roiales</i>, the principal avenues, or alleys, which were here
+found on a more ambitious scale than in any of the private gardens of
+the nobility. The central avenue was always of the most generous
+proportions, the nomenclature coming from royal&mdash;the <i>grand roial</i> being
+the equivalent of <i>All&eacute;e Royale</i>, that is, Avenue Royal.</p>
+
+<p>By the end of the sixteenth century the Garden of the Tuileries, which
+was later to be entirely transformed by Le Notre, offered an interesting
+aspect of the <i>parquet</i> at its best. In "<i>Paris &agrave; Travers les Ages</i>" one
+reads that from the windows of the palace the garden resembled a great
+checker-board containing more than a hundred uniform <i>carreaux</i>. There
+were six wide longitudinal alleys or avenues cut across by eight or ten
+smaller alleys which produced this rectangular effect. Within some of
+the squares were single, or grouped trees; in others the conventional
+<i>quincunx</i>; others were mere expanses of lawn, and still others had
+flowers arranged in symmetrical patterns. In one of these squares was a
+design which showed the escutcheons of the arms of France and those of
+the M&eacute;dici. These gardens of the Tuileries were first modified by a
+project of Bernard Palissy, the porcelainiste. He let his fancy have
+full sway and the criss-<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>cross alleys and avenues were set out at their
+junctures with moulded ornaments, enamelled miniatures, turtles in
+faience and frogs in porcelain. It was this, perhaps, which gave the
+impetus to the French for their fondness to-day for similar effects, but
+Bernard Palissy doubtless never went so far as plaster cats on a
+ridgepole, as one may see to-day on many a pretty villa in northern
+France. This certainly lent an element of picturesqueness to the
+Renaissance Garden of the Louvre, a development of the same spirit which
+inspired this artist in his collaboration at Chenonceaux. This was the
+formula which produced the <i>jardin d&eacute;lectable</i>, an exaggeration of the
+taste of the epoch, but still critical of its time.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus051tb.jpg" width="600" height="372" alt="A Parterre" title="" />
+<span class="caption"><i>A Parterre</i></span><br /><span class="link"><a href="images/illus051.jpg">View larger image</a></span>
+</div>
+
+<p>The gardens of the Renaissance readily divided themselves into two
+classes, those of the <i>parterres &agrave; compartiments</i> and those of the
+<i>parterres de broderies</i>. The former, under Francis I and Henri II, were
+divided into geometrical compartments thoroughly in the taste of the
+Renaissance, but bordered frequently with representations of designs
+taken from Venetian lace and various other contemporary stuffs. There
+were other <i>parterres</i>, where the compartments were planned on a more
+utilitarian scale; in other words, they were the <i>potagers</i> which
+rendered<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> the garden, said Olivier de Serres, one of "profitable
+beauty." Some of the compartments were devoted entirely to herbs and
+medicinal plants while others were entirely given over to flowers. In
+general the compartments were renewed twice a year, in May and August.</p>
+
+
+
+<p>The <i>Grand Parterre</i> at Fontainebleau, called in other days the
+<i>Parterre de Tiber</i>, offered as remarkable an example of the terrace
+garden as was to be found in France, the terraces rising a metre or more
+above the actual garden plot and enclosing a sort of horticultural
+arena.</p>
+
+<p>It was in the sixteenth century that architectural motives came to be
+incorporated into the gardens in the form of square, round or octagonal
+pavilions, and here and there were added considerable areas of tiled
+pavements, features which were found at their best in the gardens of the
+Chateau de Gaillon and at Langeais.</p>
+
+<p>One special and distinct feature of the French Renaissance garden was
+the labyrinth, of which three forms were known. The first was composed
+of merely low borders, the second of hedges shoulder high, or even
+taller, and the third was practically a roofed-over grove. The latter
+invention was due, it is said, to the discreet Louis XIV. In the
+Tuileries garden, in the time of Catherine de M&eacute;dici, there was a
+labyrinth<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> greatly in vogue with the Parisian nobles who "found much
+pleasure in amusing themselves therein."</p>
+
+<p>In that garden the labyrinth was sometimes called the "Road of
+Jerusalem" and it was presumably of eastern origin.</p>
+
+<p>In the seventeenth century grottos came to be added to the garden,
+though this is seemingly an Italian tradition of much earlier date.
+Among the notable grottos of this time were that of the <i>Jardin des
+Pins</i> at Fontainebleau, and that of the Chateau de Meudon, built by
+Philibert Delorme, of which Ronsard celebrated its beauties in verse.
+The art was not confined to the gardens of royalties and the nobility,
+for the <i>bourgeoisie</i> speedily took up with the puerile idea (said to
+have come from Holland, by the way), and built themselves grottos of
+shells, plaster and boulders. It was then that the <i>chiens de faience</i>,
+which the smug Paris suburbanite of to-day so loves, were born.</p>
+
+<p>By the seventeenth century the equalized <i>carreaux</i> of the early
+geometrically disposed gardens were often replaced with the oblongs,
+circles and, somewhat timidly introduced, more bizarre forms, the idea
+being to give variety to the ensemble. There was less fear for the
+artistic effect of great open spaces than had formerly<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> existed, and the
+avenues and alleys were considerably enlarged, and such architectural
+and sculptural accessories as fountains, balustrades and perrons were
+designed on a more extensive scale. Basins and canals and other
+restrained surfaces of water began to appear on a larger scale, and
+greater insistence was put upon their proportions with regard to the
+decorative part which they were to play in the ensemble.</p>
+
+<p>This was the preparatory period of the coming into being of the works of
+Le Notre and Mansart.</p>
+
+<p>The <i>Grand Si&egrave;cle</i> lent a profound majesty to royal and noble dwellings,
+and its effect is no less to be remarked upon than the character of
+their gardens. The moving spirit which ordained all these things was the
+will of the <i>Roi Soleil</i>.</p>
+
+<p><i>Parterres</i> and <i>broderies</i> were designed on even a grander scale than
+before. They were frequently grouped into four equal parts with a
+circular basin in the centre, and mirror-like basins of water sprang up
+on all sides.</p>
+
+<p>Close to the royal dwelling was the fore-court, as often dressed out
+with flowers and lawn as with tiles and flags. From it radiated long
+alleys and avenues, stretching out almost to infinity. At this time the
+grass-plots were developed to high order, and there were groves,
+rest-houses,<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> bowers, and <i>theatres de verdure</i> at each turning.
+Tennis-courts came to be a regularly installed accessory, and the basins
+and "mirrors" of water were frequently supplemented by cascades, and
+some of the canals were so large that barges of state floated thereon.
+Over some of the canals bridges were built as fantastic in design as
+those of the Japanese, and again others as monumental as the Pont Neuf.</p>
+
+<p>In their majestic regularity the French gardens of the seventeenth
+century possessed an admirable solemnity, albeit their amplitude and
+majesty give rise to justifiable criticism. It is this criticism that
+qualifies the values of such gardens as those of Versailles and Vaux,
+but one must admit that the scale on which they were planned has much to
+do with this, and certainly if they had been attached to less majestic
+edifices the comment would have been even more justifiable. As it is,
+the criticism must be qualified.</p>
+
+<p>The aspect of the garden by this time had been greatly modified. Aside
+from such great ensembles as those of Versailles was now to be
+considered a taste for something smaller, but often overcrowded with
+accessories of the same nature, which compared so well with the vastness
+of Versailles, but which, on the other hand, looked so out of place in
+miniature.<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+
+<p>It was not long now before the "style pompadour" began to make itself
+shown with regard to garden design&mdash;the exaggeration of an undeniable
+grace by an affected mannerism. All the rococco details which had been
+applied to architecture now began to find their duplication in the
+garden rockeries&mdash;weird fantasies built of plaster and even shells of
+the sea.</p>
+
+<p>By later years of the eighteenth century there came on the scene as a
+designer of gardens one, De Neufforge. His work was a prelude to the
+classicism of the style of Louis XVI which was to come. There was, too,
+at this time a disposition towards the English garden, but only a slight
+tendency, though towards 1780 the conventional French garden had been
+practically abandoned. The revolution in the art of garden-making
+therefore preceded that of the world of politics by some years.</p>
+
+<p>There are three or four works which give specific details on these
+questions. They are "<i>De la Distribution des Maisons de Plaisance</i>," by
+Blondel (1773), his "<i>Cours d'Architecture</i>" of the same date, and
+Panseron's volume entitled "<i>Recueil de Jardinage</i>," published in 1783.</p>
+
+<p>The following brief r&eacute;sum&eacute; shows the various steps through which the
+French formal garden passed. In the moyen-age the garden was a thing<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+quite apart from the dwelling, and was but a diminutive dooryard sort of
+a garden. The garden of the Renaissance amplified the regular lines
+which existed in the moyen-age, but was often quite as little in accord
+with the dwelling that it surrounded as its predecessor.</p>
+
+<p>The union of the garden and the dwelling and its dependencies was
+clearly marked under Louis XIV, while the gardens of Louis XV tended
+somewhat to modify the grand lines and the majestic presence of those of
+his elder. These gardens of Louis XV were more fantastic, and followed
+less the lines of traditional good taste. Shapes and forms were
+complicated and indeed inexplicably mixed into a m&eacute;lange that one could
+hardly recognize for one thing or another, certainly not as examples of
+any well-meaning styles which have lasted until to-day. The straight
+line now disappeared in favour of the most dissolute and irrational
+curves imaginable, and the sober majesty of the gardens of Louis XIV
+became a tangle of warring elements, fine in parts and not
+uninteresting, effective, even, here and there, but as a whole an
+aggravation.</p>
+
+<p>Finally the reaction came for something more simple and more in harmony
+with rational taste.</p>
+
+<p>The best example remaining of the Louis XV garden is that which
+surrounds the <i>Pavillon de<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> Musique</i> of the Petit Trianon, an addition
+to the garden which Louis XIV had given to the Grand Trianon. By
+comparison with the big garden of Le Notre this latter conception is as
+a boudoir to a reception hall.</p>
+
+<p>The garden of Louis XVI was a composite, with interpolations from across
+the Rhine, from Holland and Belgium and from England even; features
+which got no great hold, however, but which, for a time, gave it an air
+less French than anything which had gone before.</p>
+
+<p>From the beginning of the nineteenth century the formal garden was
+practically abandoned in France. It was the period of the real decadence
+of the formal garden. This came not from one cause alone but from many.
+To the straight lines and gentle curves of former generations upon
+generations of French gardens were added sinuosities as varied and
+complicated as those of the Vale of Cashmere, and again, with tiny stars
+and crescents and what not, the ground resembled an ornamental ceiling
+more than it did a garden. The sentimentalism of the epoch did its part,
+and accentuated the desire to carry out personal tastes rather than
+build on traditionally accepted lines. The taste for the English garden
+grew apace in France, and many a noble plantation was remodelled on
+these lines, or<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> rooted up altogether. Immediately neighbouring upon the
+dwelling the garden still bore some resemblance to its former outlines,
+but, as it drew farther away, it became a park, a wildwood or a
+preserve.</p>
+
+<p>Isabey P&egrave;re, a miniaturist, under Napoleonic stimulus, designed a number
+of French gardens in the early years of the nineteenth century,
+following more or less the conventional lines of the best work of the
+seventeenth century, and succeeded admirably in a small way in
+resuscitating the fallen taste. Isabey's gardens may have lacked much
+that was remarkable in the best work of Le Notre, but they were
+considerably better than anything of a similar nature, so far as
+indicating a commendable desire to return to better ideals.</p>
+
+<p>Under the Second Empire a great impulse was given to garden design and
+making in Paris itself. It was then that the parks and squares came
+really to enter into the artistic conception of what a city beautiful
+should be.</p>
+
+<p>Leaving the gardens of the Tuileries and the Luxembourg out of the
+question, the Parc Monceau and that of the Buttes Chaumont of to-day,
+the descendants of these first Paris gardens show plainly how thoroughly
+good they were in design and execution.<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+
+<p>The majority of professional gardeners of renown in France made their
+first successes with the gardens of the city of Paris, reproducing the
+best of the sixteenth, seventeenth and eighteenth century work, which
+had endured without the competition of later years having dulled its
+beauty, though perhaps the <i>parterres</i> of to-day are rather more warm in
+colouring, even cruder, than those of a former time.</p>
+
+<p>The <i>jardin fleuriste</i> and the <i>parterre horticole</i> of the nineteenth
+century appealed however quite as much in their general arrangement and
+the modification of their details and their rainbow colours, as any
+since the time of Louis XVI. According to the expert definition the
+<i>jardin fleuriste</i> was a "garden reserved exclusively to the culture and
+ornamental disposition of plants giving forth rich leaves and beautiful
+flowers." The above quoted description is decidedly apt.</p>
+
+<p>The seventeenth century French garden formed a superb framing for the
+animated f&ecirc;tes and reunions in which took part such a brilliant array of
+lords and ladies of the court as may have been invited to taste the
+delicacies of a f&ecirc;te amid such luxurious appointments.</p>
+
+<p>The fashionable and courtly life of the day, so far as its open-air
+aspect was concerned, centered around these gardens and parks of the<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+great houses of royalty and the nobility. The costume of the folk of the
+time, with cloak and sword and robes of silk and velvet and gilded
+carriages and <i>chaises-&agrave;-porteurs</i>, had little in common with the
+out-of-door garden-party life of to-day, where the guests arrive in
+automobiles, be-rugged and be-goggled and somewhat the worse for a dusty
+journey. It is for this reason that Versailles and Vaux-le-Vicomte, in
+spite of the suggestion of sumptuousness which they still retain, are,
+from all points of view, more or less out of scale with the life of our
+times.</p>
+
+<div class="figcenter" style="width: 384px;">
+<img src="images/illus063.jpg" width="384" height="650" alt="" title="" />
+<span class="caption"><i>Bassin de la Couronne, Vaux-le-Vicomte</i></span>
+</div>
+
+<p>The modern garden, whether laid out in regular lines, or on an
+ornamental scale, as a flower garden purely, or in a composite style, is
+usually but an adjunct to the modern chateau, villa or cottage. It is
+more intimate than the vast, more theatrically disposed area of old, and
+is more nearly an indication of the personal tastes of the owner because
+of its restrained proportions.</p>
+
+
+
+<p><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h2>
+
+<h3>THE ROYAL HUNT IN FRANCE</h3>
+
+
+<p>Just how great a part the royal hunt played in the open-air life of the
+French court all who know their French history and have any familiarity
+with the great forests of France well recognize.</p>
+
+<p>The echo of French country architecture as evinced in the "<i>maisons de
+plaisance</i>" and "<i>rendezvous de chasse</i>" scattered up and down the
+France of monarchial times lives until to-day, scarcely fainter than
+when the note was originally sounded. Often these establishments were
+something more than a mere hunting-lodge, or shooting-box, indeed they
+generally aspired to the proportions of what may readily be accepted as
+a country-house. They established a specious type of architecture which
+in many cases grew, in later years, into a chateau or palace of
+manifestly magnificent appointments.</p>
+
+<p>At the great hunting exposition recently held at Vienna the <i>clou</i> of
+the display was a French royal hunting-lodge in the style of Louis XVI,<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+hung with veritable Gobelin tapestries, loaned by the French government
+and picturing "The Hunt in France." It was called by the critics a
+unique painting in a beautiful frame.</p>
+
+<p>In the days of Francis I and his sons, the royal hunt was given a great
+impetus by Catherine de M&eacute;dici, wife of Henri II.</p>
+
+<p>Francis, in company with his sons, had gone to Marseilles to meet the
+M&eacute;dici bride, who was on her way to make her home at the Paris Louvre,
+and when he found her possessed of so lively manners and such great
+intelligence he became so charmed with her that, it is said, he danced
+with her all of the first evening. What pleased the monarch even more,
+and perhaps not less his sons, was that she shot with an arquebuse like
+a sharpshooter, and could ride to hounds like a natural-born Amazon. She
+was more than a rival, as it afterwards proved, of that arch-huntress,
+Diane de Poitiers.</p>
+
+<p>History recounts in detail that last royal hunt of Francis I at
+Rambouillet, when he was lying near to death, the guest of his old
+friend, d'Angennes.</p>
+
+<p>The old manor, half hunting-lodge, half fortress, and very nearly royal
+in all its appointments, proved a comfortable enough rest-house, and on
+the day after his arrival, in March, 1547, the<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> monarch commanded the
+preparations for a royal hunt to commence at daybreak in the
+neighbouring forest.</p>
+
+<p>The equipage started forth in full ceremonial on the quest of stag and
+boar. The bugles blew and a sort of stimulated courage once more entered
+the king's breast, courage born of the excitement around him, the baying
+of the hounds and the tramping and neighing of impatient horses. He had
+forced himself from his bed and on horseback and started off with the
+rest, defying the better counsel of his retainers.</p>
+
+<p>His strength proved to be born of a fictitious enthusiasm, and, speedily
+losing interest, he was brought back to the manor where he had his
+apartments, and put speechless and half dead to bed, actually dying the
+next day from this last over-exertion, scarce half a century of the span
+of his life accomplished.</p>
+
+<p>Henri de Navarre also was a true lover of the open. Born in a mountain
+town in the Pyrenees he would rather camp on a bed of pine needles in
+the forest than lie on a tuft of down. He preferred his beloved Bayonne
+ham, spiced with garlic, to a sumptuous dinner in <i>Jarnet</i> house, a
+famous Paris tavern of the day; and had rather quench his thirst with a
+quaff of the wine of Juran&ccedil;on than the finest <i>cru</i> in Paris cellars.<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>
+
+<div class="figcenter" style="width: 391px;">
+<img src="images/illus069.jpg" width="391" height="600" alt="A &quot;Cur&eacute;e aux Flambeaux&quot;" title="" />
+<span class="caption"><i>A &quot;Cur&eacute;e aux Flambeaux&quot;</i></span>
+</div>
+
+
+<p>He hated the parade of courts, was dirty, unkempt and careless, a
+genuine son of the soil, heedless of fate, and an excellent huntsman.</p>
+
+<p>Up to the seventeenth century the ladies of the French court showed a
+keener interest for falconry than for the hunt by horse and hounds.</p>
+
+<p>The heroines of the Fronde, and the generation which followed, seemed to
+lose interest in this form of sport, and gave their favour to packs of
+hounds, and followed with equal interest the hunt for deer, wolves,
+boars, foxes and hares as they were tracked through forests and over
+arid wastes.</p>
+
+<p>The old hunting horn, the winding horn of romance, still exists at the
+hunts of France, a relic of the days of Louis XIV. It sounds the
+conventional comings and goings of the huntsmen in the same classic
+phraseology as of old&mdash;the <i>lancer</i>, the <i>bien all&eacute;e</i>, the <i>vue</i>, the
+<i>changement de for&ecirc;t</i>, the <i>accompagn&eacute;</i>, the <i>bat l'eau</i>, the <i>hallali
+par terre</i>, and the <i>cur&eacute;e</i>.</p>
+
+<p>The "<i>Cur&eacute;e aux Flambeaux</i>" was one of the most picturesque ceremonies
+connected with the royal hunt in France. It began in the gallant days,
+and lived even until the time of the Second Empire.</p>
+
+
+
+<p>The <i>cur&eacute;e</i>, that is the giving up to the hounds the remains of an
+animal slain in chase, does<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> not always take place at night, but when
+it does the torches play the part of impressive and picturesque
+accessories. When a <i>cur&eacute;e</i> takes place at the spot where the animal is
+actually killed the French sporting term for the ceremony is "<i>forc&eacute; et
+abattu</i>." This, however, is usually preceded by another called "<i>le
+pied</i>," which consists in cutting off one of the feet of the dead animal
+and offering it to the person in whose honor the hunt was held.</p>
+
+<p>When the <i>cur&eacute;e</i> takes place by torchlight the body of the animal is
+carried beneath the windows of the chateau, a circle is formed by the
+"<i>piqueurs</i>," or head hunters, and all who have participated in the
+pursuit; and, to the sound of a trumpet, loaned by the sportsmen, one of
+the <i>valets de ven&eacute;rie</i> cuts up the stag. The <i>meutes</i>, that is to say,
+the hounds which are let slip last of all, and which terminates the
+chase&mdash;are then brought by the <i>valet des chiens</i>, who has great
+difficulty in keeping them from breaking loose. When the entrails have
+been cut away the valet sits astride the animal, holding up the <i>nappe</i>,
+or head and neck, shaking it at the already furious hounds. It is the
+care of the valet during this interval to conceal the pieces of flesh
+which are still under the body. The hounds are then loosened, but are
+kept within<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> bounds by the whips of the <i>piqueurs</i> and the <i>valet des
+chiens</i>. When the dogs are sufficiently exasperated the brutes are
+allowed to rush upon the remains of their victim; only, however, to be
+driven back again by whipping. When their docility has thus been proven
+the definite signal, "<i>lachez tout</i>," is given, and the hounds rush
+towards the stag.</p>
+
+<p>The <i>cur&eacute;e</i> then presents a savage spectacle: the air is filled with
+growling, barking and yelling, while the ground is covered with
+scrambling dogs, their mouths reeking with blood.</p>
+
+<p>The feminine costume for the hunt in the time of Louis XIII was of
+broadcloth or velvet, with a great feather-ornamented "picture" hat.
+Only now and again a lady on horseback after 1650 dared borrow doublet
+and jacket, and mount astride.</p>
+
+<p>The ladies followed the hunt of Louis XIV on horseback, seldom, if ever,
+in the older manner of sitting behind their cavalier on the same steed.
+From the time of Catherine de M&eacute;dici, indeed, the Italian side-saddle
+had become the fashion for women.</p>
+
+<p>Under Louis XV the ladies sought a little more comfort, and followed the
+equipage sitting in a sort of hamper-like, diminutive basket, hung from
+the broad back of a sturdy quadruped.<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> Dresses became more fanciful,
+both in materials and colours. From this it was but a step to even more
+elaborate toilettes which necessitated a conveyance of some sort on
+wheels, but the most intrepid still clung to the traditionally classic
+methods. Marie Antoinette had her <i>equipage de chasse</i>, and Madame
+Durfort was constantly abroad in the forests of Montmorency and Boissy,
+directing the operation of eight or ten professional huntsmen. Among her
+guests were frequently the ambassadors of Prussia, Russia and Austria.</p>
+
+<p>In the time of Louis XIV the Comtesse de Lude devoted herself to the
+hunt with a frenzy born of an inordinate enthusiasm. At the head of a
+pack of hounds she knew no obstacle, and, on one occasion, penetrated on
+horseback, followed by her dogs, into the oratory of the nuns of the
+Convent of Estival.</p>
+
+<p>By the end of the seventeenth century the hunt in France had become no
+more a sport for ladies. Hunting was still a noble sport, but it was
+more for men than for women. The court hunted not only in royal company,
+but accepted invitations from any seigneur who possessed an ample
+preserve and who could put up a good kill; magistrates, financiers and
+bishops, indeed all classes, became followers of the hunt.<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+
+<p>Montgaillard tells of a hunt in which he took part on the feast day of
+Saint Bernard, with the monks of the Bernardin Convent in Languedoc. In
+the episcopal domain of Saverne six hundred beaters were employed on one
+occasion to provide sport for an assembled company of lords and ladies.
+These were the days when the bishops were in truth <i>Grand Seigneurs</i>.</p>
+
+<p>The women of the court, while they played the game, ceded nothing to the
+men in bravery. Neither rain, hail nor snow frightened them. On the 28th
+of June, 1713, Louis XIV was hunting the deer at Rambouillet when a
+terrific, cyclonic storm fell upon the equipage, but not a man nor woman
+in the monarch's party quit. The Duchesse de Berry was "wet to the
+skin," but her ardour for the hunt was not in the least cooled.</p>
+
+<p>To-day at Fontainebleau or Rambouillet the echo is sounded from the
+hunting horn of Labaudy, the sugar-king, who pulls off at least two
+"hunts," with his spectacular equipage, each year, and it is a sight
+too; a French hunting party was ever picturesque, and if to-day not as
+practical as the more blood-loving Englishman's hunt, is at least
+traditionally sentimental, even artificial to the extent, at any rate,
+that it seems stagy, even to the inclusion of the automobiles which
+bring and carry away the partici<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>pants. "Other days, other ways" never
+had a more strict application than to <i>la chasse a courre</i> in France.</p>
+
+<p>Two accounts are here given of two comparatively modern figures in the
+French hunting field, which show the great store set by the sport in
+France.</p>
+
+<p>In the annals of the Chateau de Grosbois, belonging to-day to the Prince
+de Wagram, are the accounts of an early nineteenth century hunt, which
+shows that the game cost dear. The "Grand Veneur" of the Napoleonic
+reign was a master sportsman, indeed, and to-day, in a gallery of the
+chateau, are preserved the guns of the master, his hunting crop and
+saddle, his "colours" and his hunting horn.</p>
+
+<p>From the registers of the chateau, under date of December 10, 1809, the
+following, which concerned a hunting party given by the chatelain, is
+extracted verbatim.</p>
+
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="From the registers of the chateau">
+<tr><td align='left'></td><td align='left'>Note of the Maitre d'Hotel for collations for the guests</td><td align='right'>8,226 francs</td></tr>
+<tr><td align='left'></td><td align='left'>Illuminations</td><td align='right'>1,080 francs</td></tr>
+<tr><td align='left'></td><td align='left'>Gratifications to the beaters</td><td align='right'>1,000 francs</td></tr>
+<tr><td align='left'></td><td align='left'>Eau de Cologne for the ladies</td><td align='right'>30 francs</td></tr>
+<tr><td align='left'></td><td align='left'>Gun-bearers</td><td align='right'>148 francs</td></tr>
+<tr><td align='left'></td><td align='left'>Helpers (150)</td><td align='right'>600 francs</td></tr>
+<tr><td align='left'></td><td align='left'>Aids (200)</td><td align='right'>315 francs</td></tr>
+</table></div>
+<p><span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+
+<div class="figcenter" style="width: 416px;">
+<img src="images/illus078.jpg" width="416" height="600" alt="An Imperial Hunt at Fontainebleau" title="" />
+<span class="caption"><i>An Imperial Hunt at Fontainebleau</i></span>
+</div>
+
+<p>Another hunt was given in 1811, in honour of Napoleon, when such items
+as three thousand francs for an orchestra, a like sum for bouquets for
+the ladies, a thousand or two for bonbons and fans, and twelve thousand
+for hired furniture, etc., to say nothing of the expenses of the hunt
+itself, made the bag somewhat costly. It was not always easy for the
+master of the hunt to get justice when it came to paying for his
+supplies, and in these same records a mention of a dozen leather
+breeches at a hundred and forty francs each was crossed off and a
+marginal note, <i>Non</i>, added in the hand of Mar&eacute;chal Berthier, Prince de
+Wagram, himself.</p>
+
+<p>The chief figure in the French hunting world of to-day is another
+descendant of the Napoleonic portrait gallery, Prince Murat. At the age
+of twelve the young Prince Joachim had already followed the hounds at
+Fontainebleau and Compi&egrave;gne. In his double quality of relative and
+companion of the Prince Imperial he was one of the chiefs of the
+equipment of the Imperial Hunt. To-day, though well past the span of
+life, he is as active and as enduring in his participation in the
+strenuous sport as many a younger man and his knowledge of the grand art
+of <i>v&eacute;nerie</i>, and his ardour for being always ahead with the hounds, is
+noted by all who may<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> happen to see him while jaunting through the
+F&ocirc;ret de Compi&egrave;gne, keeping well up with the traditions of his worthy
+elder, the "Premier Cavalier" of the First Empire, the King of Naples.</p>
+
+
+
+
+<p>He won his first stripes in the hunting field at Compi&egrave;gne in 1868, at a
+hunt given in honour of the Prince de Hohenzollern and the Princesse,
+who was the sister of the King of Portugal. It was a most moving event,
+so much so that it just escaped being turned into a drama, for one of
+the ladies of the court had a leg broken, and the minister, Fould, was
+almost mortally injured. A "<i>dix cors</i>," a stag with antlers of ten
+branches, had been run down at the Rond Royal where it had taken refuge
+in a near-by copse, and after an hour's hard chase was finally cornered
+in the courtyard of some farm buildings of the Hameau d'Orillets. A
+troop of cows was entering the courtyard at the same moment, and a most
+confused mel&eacute;e ensued. The Inspector of Forests saved the situation and
+the cows of the farmer, and the stag fell to the carabine of Prince de
+la Moskowa, with the young Prince Murat on his pony in the very front
+rank.</p>
+
+<p>Thus early initiated in the chivalrous sport of the hunt the young man
+followed every hunt, big or little, which was held in the environs of
+Paris for many years, and by the time that he<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> came to possess the
+epaulettes of an Officier de Cuirassiers he was known to all the hunts
+from the Ardennes to Anjou.</p>
+
+<p>For the past generation he has been retired to civil life by a
+Republican decree, and since that time has lived in his suburban Paris
+property, devoting himself to the raising of hunters. Here he lives
+almost on the borders of that great extent of forest which occupies the
+northern section of the Ile de France, occasionally organizing a hunt,
+which takes on not a little of the noble aspect of a former time, the
+prince following always within sound of the hunting horn and the baying
+of the hounds, if not actually always within sight of the quarry.</p>
+
+<p>It is here, in his Villa Normande, near which Saint Ouen gave Dagobert
+that famous counsel which has gone down in history, that the Prince and
+Princesse Murat come to pass two or three months each year with their
+children, their allied parents and the "great guns" of the old r&eacute;gime
+who still gather about the master of the hunt as courtiers gather around
+their king.</p>
+
+<p>At Chamblay there have been held magnificent gun shoots under the
+organization of the prince and his equipage. His kennels contain
+forty-eight of the finest bred hounds in France, and are guarded by
+three caretakers, the goader,<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> Carl, whose fame has reached every
+hunting court of Europe and a couple of <i>valets des chiens</i>. The
+prince's colours are distributed as follows: a huzzar jacket of blue,
+with collar, plaquettes, and vest of grenadine and breeches of a darker
+blue.</p>
+
+<p>Formerly Prince Murat hunted the roe-deer in the valley of the Oise, but
+many enclosures of private property having made this exceedingly
+difficult in later years he is to-day obliged to go farther afield. In
+the spring the equipage goes to Rosny, near Mantes, and perhaps during
+the same season occasionally to Rambouillet.</p>
+
+<p>The hunts at Chamblay are the perfection of the practice of the art.
+Seldom is the quarry wanting. The refrain of the Ode to Saint Hubert
+lauds the prowess of this great "Maitre d'Equipage."</p>
+
+<p>
+<span style="margin-left: 3em;">"Par Saint Hubert mon patron</span><br />
+<span style="margin-left: 3em;">C'est quelque due de haut renom</span><br />
+<span style="margin-left: 2em;"><i>*  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *</i></span><br />
+<span style="margin-left: 3em;">Sonnez: &eacute;cuyers et piqueux</span><br />
+<span style="margin-left: 3em;">Un Murat vien en ces lieux."</span><br />
+</p>
+
+<p>Chamblay fortunately being neither populous nor near a great town there
+is no throng of curious spectators hovering about to get in the way and
+scare the game and the hounds and their followers out of their wits. The
+Chasse de<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> Chamblay is the devotion of the <i>vrais veneurs</i>; the Prince
+Murat and his son, the Prince Joachim, (to-day at the military school at
+Saint Cyr), the Prince Eugene Murat, the Comte de Vallon, the Baron de
+Neuflize and a few famous <i>veneurs</i> in gay uniforms come from afar to
+give &eacute;clat to the hunt of the master. And the ladies: the following
+names are of those devoted to the prowess of the Prince Murat&mdash;Madame la
+Princesse, la Princesse Marguerite Murat, Mademoiselle d'Elchingen, the
+Duchesse and the Marquise d'Albufera, the Duchesse de Camestra, and
+Madame Kraft.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus083.jpg" width="600" height="371" alt="Rendezvous de Chasse, Rambouillet" title="" />
+<span class="caption"><i>Rendezvous de Chasse, Rambouillet</i></span>
+</div>
+
+<p>From this one sees that romance is not all smouldering. If other proof
+were wanting a perusal of that most complete and interesting account of
+the hunt in France in modern times, "<i>Les Chasses de Rambouillet</i>"
+(<i>Ouvrage offert par Monsieur Felix Faure</i>) would soon establish it.
+This was not a work destined for the public at large. The hunt was ever
+a sport of kings in France, and though France has become Republican its
+<i>Chasse Nationale</i> at Rambouillet partakes not a little of the aspect of
+those courtly days when there was less up-to-dateness and more
+sentiment.</p>
+
+
+
+<p>There were but one hundred copies of this work printed for the friends
+of the late president<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> of the Republic&mdash;"Other Sovereigns," as the
+dedication reads, "Princes, Grand Dukes, Ambassadors."</p>
+
+<p>Rambouillet was the theatre of the most splendid hunts of the sixteenth
+century, and down through the ages it has ever held a pre&euml;minent place;
+holds it to-day even. Louis XVI in the Revolutionary torment even
+regretted the cutting off of his prerogative of the royal hunt, but he
+had no choice in the matter. In his journal of 1789 one reads: "the cerf
+runs alone in the Parc en Bas" (Rambouillet), and again in 1790: "S&eacute;ance
+of the National Assembly at noon; Audience of a deputation in the
+afternoon. The deer plentiful at Gambayseuil."</p>
+
+<p>The Revolution felled many French institutions; low, great,
+ecclesiastical and monarchial monuments, the trees of the forest, and
+the royal game, by a system of poaching, had become greatly diminished
+in quantity.</p>
+
+<p>The nineteenth century, so frankly democratic in its latter years, was
+less favourable to the hunt than the monarchial days which had gone
+before. It had a considerable prominence under Charles X, more perhaps
+than it ever had under Napoleon, who in his infancy and laborious
+adolescence had few opportunities of following it; and in the later
+years of his life he was too busy.<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span></p>
+
+<p>Napoleon III was not really a "good hunter," though he was something of
+a marksman and took a considerable pride in his skill in that
+accomplishment.</p>
+
+<p>Entering the democratic era, Jules Gr&eacute;vy seems to have been only a
+pot-hunter of the <i>bourgeoisie</i>, who practiced the art only because he
+wanted a jugged hare for his dinner, or again simply to kill time.</p>
+
+<p>Sadi-Carnot was still less a hunter of the romantic school, but assisted
+frequently at the ceremonial shootings which were arranged for visiting
+monarchs. On one occasion he was put down on the record-sheet of a hunt
+at Rambouillet as responsible only for the death of eighteen heads,
+whilst a visiting Grand Duke pulled down a hundred and fifty.</p>
+
+<p>It was notably during the presidency of Felix Faure that Rambouillet
+again took on its animation of former times. The chateau had been
+furbished up once more after a long sleep, and, to the great
+satisfaction of the inhabitants of the town, there were more comings and
+goings than there had been for a quarter of a century.</p>
+
+<p>In the summer and autumn the president made Rambouillet his preferred
+residence, and there received many visiting sovereigns and notables of
+all ranks. In one year a score<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> of "Official Hunts" were held, to which
+all the members of the diplomatic corps were invited, while there were
+two or three affairs of an "International" character in honour of
+visiting sovereigns.</p>
+
+<p>All was under the control of the Grand Veneur of the Third Republic, the
+Comte de Girardin, and while a truly royal flavour may have been lacking
+the general aspect was much the same as it might have been in the days
+of the monarchy. The Captain of the Hunt under Felix Faure was the
+Inspector of Forests, Leddet, and the Premier Veneur was the Commandant
+Lagarenne.</p>
+
+<p>The president himself was a marksman of the first rank, and never was
+there a reckoning up of the <i>tableau</i> but that he was near the head of
+the list. So accomplished was he with the rifle that on more than one
+occasion he was obliged to practically efface himself in favour of some
+visiting monarch, as it was said he did in the case of the King of
+Portugal in 1895, the Grand Ducs Vladimir and Nicolas in 1896.</p>
+
+<p>Huntsmen not royal by virtue of title, or alliance, the Republican
+president beat to a stand-still. He had no pity nor favour for a mere
+ambassador, whether he hailed from England or Germany, nor for members
+of the Institute, Senators nor Deputies. With Prince Albert of<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> Monaco
+he held himself equal, and for every bird shot on the wing by the head
+of the house of Grimaldi the "longshoreman" of Havre brought down
+another.</p>
+
+<p><i>La chasse &agrave; courre</i> before the law in France to-day may be practiced
+only under strictly laid down conditions. The huntsman must legally have
+his dogs under such control, and keep sufficiently close to them, as to
+be able to recover the quarry immediately after it has been closed in
+upon by the hounds.</p>
+
+<p>Like shooting, since the Decr&eacute;e of 1844, hunting with hounds may only be
+undertaken under authority of a <i>permis de chasse</i>, and in open season,
+during the daytime, and with the consent of the owners over whose
+properties the hunt is to be held.</p>
+
+<p>The ceremony of the hunt in France now follows the traditions of the
+classic hunt of the monarchy. The <i>veneur</i> decides on the rendezvous,
+whether the quarry be stag or chevreuil, fox or hare. The <i>piqueur</i>
+follows close up with the dogs, sets them on or calls them off, and
+recalls them if they go off on a false scent.<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h2>
+
+<h3>THE PALAIS DE LA CIT&Eacute; AND TOURNELLES</h3>
+
+
+<p>Not every one assumes the Paris Palais de Justice to ever have been the
+home of kings and queens. It has not, however, always been a tilting
+ground for lawyers and criminals, though, no doubt, when one comes to
+think of it, it is in that r&ocirc;le that it has acted its most thrilling
+episodes.</p>
+
+<p>The Saint Chapelle, the Conciergerie and the great clock of the Tour de
+l'Horloge mark the Palais de Justice down in the books of most folk as
+one of the chief Paris "sights," but it was as a royal residence that it
+first came into prominence.</p>
+
+<p>This palace, not the conglomerate half-secular, half-religious pile of
+to-day, but an edifice of some considerable importance, existed from the
+earliest days of the Frankish invasion, and when occupied by Clotilde,
+the wife of Clovis, was known as the Palais de la Cit&eacute;.</p>
+
+<p>Under the last of the kings of the First Race this palace took on really
+splendid proportions.<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> When Hugues Capet arrived on the throne he
+abandoned the kingly residence formerly occupied by the Frankish rulers,
+the Palais des Thermes, and installed his goods and chattels in this
+Palais de la Cit&eacute;, which his son Robert had rebuilt under the direction
+of Enguerrand de Marigny.</p>
+
+<p>Up to the time of Francis I it remained the preferred residence of the
+French monarchs, regardless of the grander, more luxuriously disposed
+Louvre, which had come into being.</p>
+
+<p>Philippe Auguste, by a contrary caprice, would transact no kingly
+business elsewhere, and it was within the walls of this palace that he
+married Denmark's daughter. His successors, Saint Louis,
+Philippe-le-Hardi, and Philippe-le-Bel did their part in enlarging and
+beautifying the structure, and Saint Louis laid the foundations of that
+peerless Gothic gem&mdash;La Saint Chapelle.</p>
+
+<p>From the windows of the Palais de la Cit&eacute; another Charles assisted at an
+official massacre, differing little from that of Saint Bartholemew's,
+which was conducted from the Louvre.</p>
+
+<p>On the first floor of the Palais de Justice of to-day is the apartment
+paved in a mosaic of black and white marble, with a painted and gilded
+wooden vaulting, where Charles V received the Emperor Charles IV and the
+"Roi des Ro<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span>mains." The three monarchs, accompanied by their families,
+here supped together around a great round marble table, a secret supper
+prolific of an <i>entente cordiale</i> which must have been the forerunner of
+recent ceremonies of a similar nature in France.</p>
+
+<p>Known as the Salle de Marbre, this great chamber came later to be the
+Tribunal where the courts sat. It was only after the death of Charles
+VI, at the beginning of the fifteenth century, that the Palais de la
+Cit&eacute; was given over wholly to the disciples of Saint Yves, the judges,
+advocates and notaries. It became also the definite seat of the
+Parliament and took the nomenclature of Palais de Justice, though still
+inhabited at intermittent intervals by French royalties. One such
+notable occasion was that when Henry V of England was here married to
+Catherine de France, and when Henry VI of England took up his temporary
+residence here as king to the French.</p>
+
+<p>In the fourteenth century the precincts of the Palais de la Cit&eacute;&mdash;the
+open courtyard one assumes is meant&mdash;were invaded by the stalls of small
+shopkeepers, some of which actually took root in wood and stone and
+became fixtures to such an extent that the courtyard was known as the
+Galerie des Merciers.<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
+
+<p>The great marble chamber after becoming the meeting place of the
+Tribunal played a part at times dignified and at others banal. An
+incident is recorded where the clerks and minor court officials danced
+on the famous marble table and "played farces" with the judicial bench
+serving as a stage. It was said that, on account of the immoralities
+which they represented, the authorities were obliged to suppress the
+performances by law, as they have in recent years the flagrant freedom
+of the "Quat'z Arts."</p>
+
+<p>Up to the times of Francis I but few events of importance unrolled
+themselves within the Palais de la Cit&eacute;, but in 1618 a violent
+conflagration broke out leaving only the round towers of the
+Conciergerie, the tower and the church, and that part of the main
+structure which housed the great Salle de Marbre, unharmed. Apropos of
+this, a joyous rhymester of the time made the following quatrain:</p>
+
+<p>
+<span style="margin-left: 3em;">"Certes ce fut un triste jeu</span><br />
+<span style="margin-left: 3em;">Quand a Paris Dame Justice</span><br />
+<span style="margin-left: 3em;">Pour avoir mang&eacute; trop d'&eacute;pice</span><br />
+<span style="margin-left: 3em;">Se mit le Palais tout en feu."</span><br />
+</p>
+
+<p>Jacques Debrosse was charged with rebuilding the edifice after the fire
+and refitted first the Grand Salle, to-day the famous Salle des Pas<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>
+Perdus, crowded with the shuffling coming and going crowd of men and
+women whose business, or no business at all, brings them to this central
+point for the dissemination of legal gossip. It is a magnificent
+apartment, and, to no great extent, differs from what it was before the
+conflagration.</p>
+
+<p>This Salle consists of two parallel naves separated by a range of
+arcades and lighted by two great circular openings with four
+round-headed windows at either end. Its attributes are practically the
+same as they were in 1622. The structure, take it as a whole, may be
+said to date only from the seventeenth century, but certain it is that
+the old Palais de la Cit&eacute; is incorporated therein, every stone of it,
+and if its career was humdrum that was the fault of circumstances rather
+than from any inherent faults of its own.</p>
+
+<p>The Conciergerie, that inelegant, inconsistent architectural mixture of
+the ancient and modern, considered apart, though it properly enough is
+usually considered with the Palais de Justice, was formerly the dwelling
+or guardhouse of the Concierge of the Palais de la Cit&eacute;. His post was
+not merely that of the keeper of the gates; he was a personage at court
+and was as autocratic as his more plebeian contemporaries of to-day, for
+the Paris concierge, as we, who have for years lived<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> under their
+despotism well know, is a very dreadful person.</p>
+
+<p>In addition to being the governor of the royal dwelling this concierge
+was the guardian of the royal prisoners. In 1348 he was further invested
+with the official title of Bailli and the post was, at times, occupied
+by the highest and the most noble in the land, among others Philippe de
+Savoie, the friend of Charles VI, and Juvenal des Oursins, the historian
+of this prince. The first to combine the two functions, that of Bailli
+and Concierge, was Jacques Coictier, the doctor of Louis XI.</p>
+
+<p>As a virtual prison the Conciergerie only came to be transformed when
+Charles V quitted the residence of the Palais de la Cit&eacute;, and the
+Conciergerie, as such, only figures on the Tournelles registers under
+date of 1391.</p>
+
+<p>The fire of the latter part of the eighteenth century destroyed a large
+part of the building, but enough remained to patch together the most
+serviceable of Revolutionary prisons, for at one time it held at least
+twelve hundred poor souls, of whom two hundred and eighty-eight were
+killed off at one fell blow.</p>
+
+<p>But one woman among them all actually came to her death within the
+prison walls. This was La Belle Bouqueti&egrave;re of the Palais Royal who,<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> in
+an access of jealous furor, horribly mutilated a royal guardsman, and
+for this met a most cruel death by being transfixed to a post and
+submitting to a trial of "<i>le fer et le feu</i>." In just what manner the
+punishment was applied one can best imagine for himself.</p>
+
+<p>The Revolutionary r&ocirc;le of the Conciergerie is a thing apart from the
+purport of this book, hence is not further referred to.</p>
+
+<p>Going back to the time of Francis I, among the famous prisoners of state
+were Louis de Berquin, the Comte de Mongomere, the regicides Ravaillac
+and Damiens, the Mar&eacute;chal d'Ancre, Cartouche, Mandrin and others.
+To-day, as a prison, the Conciergerie still performs its functions
+acceptably, safeguarding those up for the assizes, and those condemned
+to death before being sent on their long journey.</p>
+
+<p>The three great flanking towers of the Conciergerie are its chief
+architectural distinction to-day. That of the left, the largest, is the
+Tour d'Argent, that of the middle, the Tour Bonchet, and the third, the
+Tour de C&eacute;sar or the Tour de l'Horloge. This last is the only one which
+has preserved its medi&aelig;val crenulated battlements aloft. The great clock
+has been commonly considered the largest timepiece of its kind extant,
+but it is doubtful if this now holds good<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> with railways and insurance
+companies vying with each other to furnish the hour so legibly that he
+who runs may read.</p>
+
+<p>Across the Pont au Change, from the Palais de la Cit&eacute;, by the Louvre and
+out into the Faubourg Saint Antoine, one comes to the Place des Vosges,
+the old Place Royale, which occupies almost the same area as was covered
+by the courtyard of the Palais des Tournelles, so called from its many
+towers.</p>
+
+<p>All around the Palais des Tournelles was located a series of splendid
+<i>hotels priv&eacute;s</i> of the nobility. In one of these, the Hotel de Saint
+Pol, the king once lodged twenty-two visiting princes of the quality of
+Dauphin (the eldest son of a ruling monarch), their suites and
+domestics.</p>
+
+<p>Charles V in his time amalgamated with his royal palace three of these
+magnificent private dwellings, the Hotel du Petit Musc, the Hotel de
+l'Abb&eacute; de Saint Maur and the Hotel du Comte d'&Eacute;tampes.</p>
+
+<p>The palace proper really faced on what is now the Rue Saint Antoine,
+opposite the Hotel Saint Pol. Its historic and romantic memories of the
+sword and cloak period of gallantry were many, but the edifice was
+demolished by the order of Catherine de M&eacute;dici.<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+
+<p>In the palace Charles VI was confined, during the period of his
+insanity, by order of the cruel Isabeau de Bavi&egrave;re. The Duke of Bedford,
+when regent for the minor Henry VI, lodged here, and upon the expulsion
+of the English it became the residence of Charles VII. Louis XI and
+Louis XII each inhabited it, and the latter died within its walls.</p>
+
+<p>The Palais des Tournelles will go down to history chiefly because of
+that celebrated jousting bout held in its courtyard on the marriage day
+of the two princesses, Elizabeth and Marguerite.</p>
+
+<p>Henri II and the elder princes, his sons, were to ride forth in
+tournament and break lances, if possible, with all comers. The court,
+including Catherine de M&eacute;dici and the princess Elizabeth, wife of
+Philippe II, the late husband of Mary Tudor, the two Marguerites and
+other high personages were seated on a dais upholstered in damascened
+silk and ornamented with many-coloured streamers.</p>
+
+<p>The time was July and the morning. At a signal from Catherine music
+burst forth and the bouts began.</p>
+
+<p>The king rode forth at the head of his chevaliers, wearing a suit of
+golden armour, his sword handle set with jewels, and, in spite of the
+presence of his wife, his lance flying black<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> and white streamers, the
+colours of Diane de Poitiers, who had lately turned her affections from
+father unto son.</p>
+
+<p>A herald proclaimed the opening of the combat, and before night the king
+had broken the lances of the Ducs de Ferrare, de Guise, and de Nemours,
+and was just about disarming when a masked knight approached from the
+Faubourg Saint Antoine and challenged the king, who, in spite of being
+implored to desist by his queen, entered the lists again and was
+ultimately wounded unto death by the sable knight.</p>
+
+<p>Henri II expired the same night in a bedchamber of the Palais des
+Tournelles, whither he had been carried, at the age of forty-one, the
+victim of chance, or the wile of the Sieur de Montgomeri, the ancestor
+of England's present Earl of Eglinton. The captain of the Scotch Guards,
+Montgomeri, was not immediately pursued (he meantime had fled the
+court), but Catherine de M&eacute;dici harboured for him a most bitter rancour.
+Pro and con ran his cause, for he had his partisans, but the Mar&eacute;chal de
+Matignon finally caught up with him in Normandy and he was tortured and
+condemned to death for the crime of <i>l&egrave;se majest&eacute;</i>&mdash;beating the king at
+his own game.</p>
+
+<p>The widowed queen angrily ordered Diane<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> de Poitiers from the court, and
+caused the Palais des Tournelles to be razed. This was her only means of
+showing her contempt for the woman who had played her royal spouse to
+his death as the Romans played the gladiators of old; and Tournelles, as
+a palatial monument of its time, blotted out the rest when it
+disappeared from view.</p>
+
+<p>A forest of spirelets soared aloft from the gables and rooftrees of the
+Palais des Tournelles. There was no spectacle of the time more imposing
+than this sky-line silhouette of a Paris palace; not at Chambord nor
+Chenonceaux was the spectacle more fine. It was like a fairy castle,
+albeit that it was in the heart of a great city.</p>
+
+<p>To the right of the Palais des Tournelles, beyond the Porte Saint
+Antoine, was the ink-black, frowning donjon of the Bastille, its
+severity in strong contrast with the more luxurious palaces of the
+princes which surrounded it not far away.</p>
+
+<p>The charming Place des Vosges, which occupies the site of Tournelles
+to-day, is another of Paris's breathing spaces. Well may it be called a
+royal garden&mdash;a park virtually on a diminutive scale&mdash;since it was
+originally known as the Place Royale, under Henri IV.</p>
+
+<p>With the advent of the gascon Henri de B&eacute;arn this delightful little
+unspoiled corner of old Paris<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> took on the aspect which it now has.
+Within this enclosure were the usual garden or park attributes, more or
+less artificially disposed, but making an ideal open-air playground for
+the court, shut in from outside surroundings by the outlines of the old
+palace walls, and not too far away from the royal palace of the Louvre.</p>
+
+<p>The first and greatest historic souvenir of this garden was a Carrousel
+given in 1612, by Marie de M&eacute;dici, two years after the tragic death of
+Henri IV, celebrating the alliance between France and Spain. Under
+Richelieu the square became known as the Place des Vosges, and, in spite
+of the law against duelling, which had by this time come into force, it
+became a celebrated meeting place for duellists like Ivry, the "Grand'
+Rou&eacute;" or the "Vel' Hiver" of to-day.</p>
+
+<p>It was on May 12, 1627, that the Comte des Chappell killed Bussy
+d'Amboise on this spot, and left a bloody souvenir, which was only
+forgotten by the historians when they had to recount another meeting,
+this time between the Catholic Duc de Guise and the Protestant Coligny
+d'Andelot.</p>
+
+<p>"Monsieur," said the duke, "we will now proceed to settle that little
+account between our illustrious houses," and with that he drew<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> his
+sword and killed Coligny, as if he were but stamping the life out of a
+caterpillar.</p>
+
+<p>Now, with all this bloody memory behind, the Place became one of the
+most elegant residential quarters of the capital, preferred above all by
+the nobility, the Rohans, the Al&egrave;gres and Rotroux.</p>
+
+<p>At No. 21 lived Victor Hugo, just before the Coup d'&Eacute;tat, in the house
+first made famous as the habitation of the somewhat infamous Marion
+Delorme.</p>
+
+<p>Among other illustrious names who have given a brilliance to these
+alleyed walks and corridors are to be recalled Corneille, Cond&eacute;, Saint
+Vincent de Paul, Moli&egrave;re, Turenne, Madame de Longueville, De Thou,
+Cinq-Mars, Richelieu, D'Ormesson, the Prince de Talmon, the Marquis de
+Tess&eacute; and the Comte de Chabanne.</p>
+
+<p>It is possible that this charming Paris square will remain as ever it
+has been, for a recent attempt of the owner of one of the houses which
+borders upon it to change the disposition of the fa&ccedil;ade brought about a
+law-suit which compelled him to respect the procedure which obtained in
+1605 when it was ordained the Place Royale.</p>
+
+<p>To prove their rights the civic authorities had recourse to the original
+plans still preserved in<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> the national archives. This is a demonstration
+of how carefully European nations preserve the written records of their
+pasts.</p>
+
+<div class="figcenter" style="width: 440px;">
+<img src="images/illus103tb.jpg" width="440" height="650" alt=" BIRD&#39;S EYE VIEW OF OLD PARIS" title="" />
+<span class="caption">BIRD&#39;S EYE VIEW OF OLD PARIS</span><br /><span class="link"><a href="images/illus103.jpg">View larger image</a></span>
+</div>
+
+<p>The decision finally arrived at by the courts&mdash;that the Place des Vosges
+must be kept intact as originally planned&mdash;gave joy to the hearts of all
+true Parisians and archeologists alike.</p>
+
+
+
+
+<p><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h2>
+
+<h3>THE OLD LOUVRE AND ITS HISTORY</h3>
+
+
+<p>A stroll by the banks of the Seine will review much of the history of
+the capital, as much of it as was bound up with Notre Dame, the Louvre
+and the Palais de la Cit&eacute; (now the Palais de Justice), and that was a
+great deal, even in medi&aelig;val and Renaissance times.</p>
+
+<p>The life of the Louvre was Paris; the life of Paris that of the nation;
+and the life of the nation that of the people. This even the Parisians
+of to-day will tell you. It is scant acknowledgment of the provinces to
+be sure, but what would you? The French capital is much more the capital
+of France than London is of England, or Washington of America&mdash;leaving
+politics out of the question.</p>
+
+<p>Paris before the conquest by the Franks was practically only the
+Seine-surrounded isle known as Lutetia, and later as "La Cit&eacute;," and the
+slight overflow which crept up the slopes of the Montagne de la Sainte
+Genevieve. From the Chatelet to the Louvre was a damp, murky<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> swamp
+called, even in the moyen-age, Les Champeaux, meaning the Little Fields,
+but swampy ones, as inferred by studying the evolution of the name still
+further.</p>
+
+<p>A rapid rivulet descended from Menilmontant and mingled with the Seine
+somewhere near the Garden of the Tuileries.</p>
+
+<p>Clovis and his Franks attacked the city opposite the isle, and, upon the
+actual achievement of their conquest, threw up an entrenched camp on the
+approved Roman plan in what is now the courtyard of the old Louvre, and
+filled the moat with the waters of this rivulet. The ensemble was,
+according to certain authorities, baptized the Louvre, or Lower, meaning
+a fortified camp. This entrenchment was made necessary in order that the
+Franks might sustain themselves against the Gallo-Roman occupants of
+Lutetia, and in time enabled them to acquire the whole surrounding
+region for their own dominion. This the Lower, or Louvre, made possible,
+and it is well deserved that its name should be thus perpetuated, though
+actually the origin of the name is in debate, as will be seen by a
+further explanation which follows.</p>
+
+<p>Little by little this half-barbaric camp&mdash;in contradistinction to the
+more solid works of the Romans&mdash;became a <i>placefort</i>, then a ch&acirc;teau,<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span>
+then a palace and, finally, as the young lady tourist said, an art
+museum. Well, at any rate, it was a dignified evolution.</p>
+
+<p>Two Louvres disappeared before the crystallization of the present rather
+irregularly cut gem. From the Merovingians dates the Louvre des Champs,
+the hostile, militant Louvre, with its high wood and stone tower,
+familiar only in old engravings. After this the moyen-age Louvre,
+attributable to Saint Louis and Charles V, with its great tower, its
+thick walls of stone and its deep-dug moats, came into being. With
+Francis I came a more sympathetic, a more subtle era of architectural
+display, a softening of outlines and an interpolation of flowering
+gables. It was thus that was born that noble monument known as the New
+Louvre, which combined all the arts and graces of a fastidious ambition.</p>
+
+<p>Nothing remains of the old Louverie (to which the name had become
+corrupted) which Philippe Auguste early in the thirteenth century caused
+to be turned into an ambitious quadrangular castle from a somewhat more
+humble establishment which had evolved itself on the site of the
+Frankish camp, save the white marble outline sunken in the pavement of
+the courtyard of the palace of to-day. By destiny this palace, set down
+in the very heart of Paris, was<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> to dominate everything round about.
+From the date of its birth, and since that time, it has had no rivals
+among Paris or suburban palaces. Its very situation compelled the
+playing of an auspicious part, and the Seine flowing swiftly by its
+ramparts added no small charm to the f&ecirc;tes and ceremonies of both the
+Louvre and the Tuileries.</p>
+
+<p>Never was a great river so allied with the life of a royal capital;
+never a stream so in harmony with other civic beauties as is the Seine
+with Paris. When Henri II entered Paris after his Sacrament he
+contemplated a water-festival on the Seine, which was to extend from the
+walls of the Louvre to the towers of Notre Dame, a festival with such
+elaborate decorations as had never been known in the French capital.</p>
+
+<p>The kings of France after their Sacrament entered the Louvre by the
+quay-side entrance, followed by their cort&egrave;ge of gayly caparisoned
+cavaliers and gilded coaches with personages of all ranks in doublet and
+robe, cape and doublet. The scintillating of gold lace and burnished
+coats gave a brilliance which rivalled that of the sun.</p>
+
+<p>No sooner had the cavalcade entered the gates of the Louvre than it came
+out again to participate in the day and night festival, which had the<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+bosom of the Seine for its stage and its bridges and banks for the act
+drop and the wings.</p>
+
+<p>The receptions of Ambassadors, the baptisms of royalties, royal
+marriages and celebrations of victories, or treaties, were all f&ecirc;ted in
+the same manner.</p>
+
+<p>Napoleon glorified the Peace of Amiens under similar conditions, and
+there is scarce a chronicler of any reign but that recounts the part
+played by the Seine in the ceremonies of the court of the New and Old
+Louvre.</p>
+
+<p>It was amid a setting which lent itself so readily to all this that the
+Old Louvre, which was rebuilt by Francis I, first came to its glory.</p>
+
+<p>The origin of the name Louvre has still other interpretation from that
+previously given. It seems to be a question of grave doubt among the
+savants, but because the note is an interesting one it is here
+reproduced. The name may have been derived as well from the word
+<i>&oelig;uvre</i>, from the Latin <i>opus</i>; it may have been evolved from
+<i>lupara</i>, or <i>louverie</i> (place of wolves), which seems improbable. It
+may have had its evolution from either one of these origins, or it may
+not.</p>
+
+<p>Anglo-Saxons may be proud of the fact that certain French savants have
+acknowledged that the name of the most celebrated of all Paris<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> palaces
+is a derivation from a word belonging to their tongue and meaning
+habitation. This, then, is another version and one may choose that which
+is most to his liking, or may go back and show his preference for
+<i>lower</i>, meaning a fortified place.</p>
+
+<p>A palace&mdash;something more elaborate than a mere habitation&mdash;stood on the
+same site in the twelfth century, a work which, under the energies of
+Philippe Auguste, in 1204 began to grow to still more splendid
+proportions, though infinitesimal one may well conclude as compared with
+the mass which all Paris knows to-day under the inclusive appellation of
+"The Louvre."</p>
+
+<p>The Paris of Philippe Auguste was already a city of a hundred and twenty
+thousand inhabitants, with mean houses on every side and little pretense
+at even primitive comforts or conveniences. This far-seeing monarch laid
+hand first on the great citadel tower of the fortified <i>lower</i>, added to
+its flanking walls and built a circling rampart around the capital
+itself. It is recounted that the rumbling carts, sinking deep in mud and
+plowing through foot-deep dust beneath the palace windows, annoyed the
+monarch so much that he instituted what must have been the first city
+paving work on record, and commanded that all the chief thoroughfares<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+passing near the Louvre should be paved with cobbles. This was real
+municipal improvement. He was a Solon among his kind for, since that
+day, it has been a <i>sine qua non</i> that for the well-keeping of city
+streets they must be paved, and, though cobblestones have since gone out
+of fashion, it was this monarch who first showed us how to do it.</p>
+
+<p>The Louvre of Philippe Auguste was the most imposing edifice of the
+Paris of its time. To no little extent was this imposing outline due to
+its great central tower, the <i>maitresse</i>, which was surrounded by
+twenty-three <i>dames d'honneur</i>, without counting numberless <i>tourelles</i>.
+This hydra-towered giant palace was the real guardian of the Paris of
+medi&aelig;valism, as its successor is indeed the real centre of the Paris of
+to-day.</p>
+
+<p>The city was but an immense mass of low-lying gable-roofed houses, whose
+crowning apex was the sky-line of the Louvre, with that of Tournelles
+only less prominent to the north, and that of La Cit&eacute; hard by on the
+island where the Palais de Justice and Notre Dame now stand.</p>
+
+<p>Before the hand of Francis fell upon the Louvre it was but an isolated
+stronghold&mdash;a combined castle, prison and palace, gloomy, foreboding and
+surrounded by moats and ramparts almost impassable. Philippe Auguste
+built well and<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> made of it an admirable and imposing castle and a place
+of defence, and a defence it was, and not much more.</p>
+
+<div class="figcenter" style="width: 364px;">
+<img src="images/illus113.jpg" width="364" height="600" alt="" title="THE XIV CENTURY LOUVRE" />
+</div>
+
+<p>For its time it was of great proportions and of an ideal situation from
+a strategic point of view; far more so than the isolated Palais de la
+Cit&eacute; in the middle of the Seine.</p>
+
+<p>Four gates led out from the inner courtyard of the Old Louvre: one to
+the Seine; one to the south, facing Saint Germain l'Auxerrois; another
+towards the site of the later Tuileries; and the other to about where
+the Rue Marengo cuts the Rue de Rivoli of to-day.</p>
+
+<p>With the endorsement given it by Philippe Auguste the Louvre now became
+the official residence of the kings of the Capetian race, whereas
+previously they had dwelt but intermittently at Paris, chiefly in the
+Palais de la Cit&eacute;.</p>
+
+<p>The monarch, as if to test the efficiency of his new residence as a
+stronghold, made a dungeon tower, his greatest constructive achievement
+until he built the castle of Gisors, and in the tower imprisoned the
+Comte de Flandre, whom he had taken prisoner at Bouvines. Louis IX
+(Saint Louis), in his turn, built a spacious annex to Philippe Auguste's
+Louvre, to which he attached his name.</p>
+
+
+
+
+<p>Charles V totally changed the aspect of the<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> palace from what it had
+formerly been&mdash;half-fortress, half-residence&mdash;and made of it a veritable
+palace in truth as well as in name, by the addition of numerous
+dependencies.</p>
+
+<p>Within a tower which was built during the reign of this monarch, called
+the Tour de la Librairie, he assembled his royal bibelots and founded
+what was afterwards known as the Biblioth&egrave;que du Louvre, the egg from
+which was hatched the present magnificently endowed <i>Biblioth&egrave;que
+Nationale</i> in the Rue Richelieu.</p>
+
+<p>It is related that in 1373 the valet-de-chambre of Charles V made a
+catalogue of the nine hundred and ten volumes which formed this
+collection, an immense number for the time when it is known that his
+predecessor, Jean-le-Bon, possessed but seven volumes of history and
+four devotional books as his entire literary treasure.</p>
+
+<p>This seems to be a bibliographical note of interest which has hitherto
+been overlooked. Charles V was evidently a man of taste, or he would not
+have built so well, though all is hearsay, as not a fragment remains of
+the work upon which he spent his talents and energies.</p>
+
+<p>From the death of Charles V, in 1364, until 1557 the Louvre by some
+caprice ceased to be a permanent royal residence. At the latter<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> epoch
+the ambitious, art-loving Francis I conceived the idea that here was a
+wealth of scaffolding upon which to graft some of his Renaissance
+luxuries and, by a process of "restoration" (perhaps an unfortunate word
+for him to have employed, since it meant the razing of the fine tower
+built by Charles V), added somewhat to the splendours thereof, though in
+a fickle moment, as was his wont, allowed a gap of a dozen years to
+intervene between the outlining of his project and the terrifically
+earnest work which finally resulted in the magnificent structure
+accredited to him, though indeed it meant the demolition of the original
+edifice.</p>
+
+<p>It was at this period that Charles V entered into the ambitious part
+which Francis was to henceforth play in the Louvre, so perhaps the
+interruption was pardonable.<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h2>
+
+<h3>THE LOUVRE OF FRANCIS I AND ITS SUCCESSORS</h3>
+
+
+<p>One can attribute the demise of the Old Louvre to the coming of Charles
+V to Paris in 1539. This royal residence, hastily put in order to
+receive his august presence, seemed so coldly inconvenient and
+inhospitable to his host, Francis I, that that monarch decided forthwith
+upon its complete reconstruction and enlargement. Owing to various
+combinations of circumstances the actual work of reconstruction was put
+off until 1546, thus the New Louvre as properly belongs to the reign of
+Henri II as to that of his father.</p>
+
+<p>Francis I, more than any other European monarch of his time, or, indeed,
+before or since, left his mark as an architect of supreme tastes over
+every edifice with which he came into personal contact. His mania was
+for building&mdash;when it was not for affairs of the heart&mdash;and so daring
+was he that when he could not get an old fabric to remodel he would
+brave all, as did Louis XIV at Versailles, and erect a dream<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> palace in
+the midst of a desert. This he did at Chambord in the Sologne. At Paris
+his difficulties were perhaps no less, but he had his materials and his
+workmen ready at hand.</p>
+
+<p>Francis's repairs and embellishments to the Old Louvre were by no means
+perfunctory, but he saw possibilities greater than he was able to
+perform with the means at hand. He first razed the central tower, or
+<i>donjon</i>, and scarce before the departure of his royal guest, was
+already dreaming of replacing the entire fabric with another which
+should bear the same name. One has read of the monarch's thoughts when
+he was awaiting the coming to Paris of his old enemy in the peninsula;
+how he regretted the moment when he should sally out to meet him and
+leave his new-found friend, the Duchesse d'&Eacute;tampes, in spite of her
+pleadings for him to remain by her. All this is mere historic incident,
+and has little to do with Francis's art instincts and ambitions. He
+probably thought this very thing himself when he replied to the
+importunate lady: "Duchesse, I must tear myself away without more ado; I
+go to meet my brother monarch at Amboise on the Loire."</p>
+
+<p>It was Francis I, the passionate lover of art, who collected the first
+pictures which formed the foundation of the present collections of the<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+Mus&eacute;e National du Louvre. He bought many in foreign parts, and many
+others were brought from Italy by Italian artists, whom he had commanded
+to the capital: Primaticcio brought with him, upon his arrival, more
+than a hundred antique statues. These art objects were first assembled
+at Fontainebleau and ornamented the apartments of the king. Among them
+were Da Vinci's "La Joconde" and Raphael's "Holy Family and Saint
+Michael."</p>
+
+<p>Henri II, Henri IV, and Louis XIII did little to enrich the art
+collections of the palace, but Louis XIV charged his minister, Colbert,
+with numerous purchases. In 1661 he bought the fine collection left by
+Cardinal Mazarin, and ten years later purchased the contents of the
+celebrated gallery belonging to the banker Jacob of Cologne. The state
+expended for these acquisitions nearly six hundred thousand <i>livres</i>,
+and received for this sum six hundred paintings and six thousand
+drawings.</p>
+
+<p>It was at this period that the royal collections were transferred to
+Paris, a little before the death of Colbert, when they were placed in
+the galleries of the Louvre; though it was a hundred years later that a
+national museum was actually created. This was virtually brought about
+from the fact that the royal collections were trans<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>ported in a great
+part to Versailles, only to be returned to Paris in 1750, transferred
+again to Versailles, and ultimately to be returned to Paris under the
+sheltering wing of the grand old Louvre.</p>
+
+<p>The Museum of the Louvre, the Museum National et Central des Arts, is
+the outgrowth of a Decree of the Convention, dated July 27, 1793. It was
+aided and enriched considerably under Napoleon I, that passionate lover
+of the beautiful, who, none too scrupulously, would even seek to "make a
+campaign" in order to acquire art works for the museum of his capital.</p>
+
+<p>Many of these abducted art treasures (like the horses of Saint Marc, for
+instance) were afterwards returned to their original owners, but the
+nucleus of this unrivaled art museum was chiefly due to the consul and
+emperor.</p>
+
+<p>As soon as Charles V had left the Louvre demolition was at once begun by
+Francis, and in 1541 an Italian, Serlio, was bidden prepare a set of
+plans for the Renaissance glory that was to be. Serlio, refusing, or
+debating the price, was cast aside for the Frenchman, Lescot, whose plan
+was adopted.</p>
+
+<p>The work can in no way be said to have suffered by the change of plans,
+for though Pierre<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> Lescot was as yet a name unknown in the world of
+architecture his talents were sufficiently great, magistrate and
+parliamentary counsellor though he was, to give to Paris what has ever
+been accounted its chief Renaissance glory.</p>
+
+<p>Work was begun at once, a work which was not interrupted by intrigues of
+court, of love, of war, nor by the deaths of Francis I nor his
+successor, Henri II.</p>
+
+<p>Although the work was begun in an energetic manner it was 1555 before
+the western wing was ready for the hand of the sculptors, but from this
+time on, judging from the interpolated monograms of Charles IX and Henri
+IV on the south wing, work progressed less hurriedly. The two other
+constructions, which were to enclose the quadrangle to the north and
+east, were completed under such circumstances that there has never been
+a question as to their period.</p>
+
+<p>For fifteen years the work went on, when suddenly it was abandoned as
+were the plans of Lescot. A sole wing, that following the Seine and
+abutting at right angles against the Pavilion de l'Horloge, had
+resulted.</p>
+
+<p>The sculptures of its south fa&ccedil;ade, as well as certain of its interior
+decorations, were entrusted to Jean Goujon (1520-1572), who became a
+victim of the horrible night of Saint Barthol<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>omew, planned in the same
+Louvre by the wily M&eacute;dici.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus124.jpg" width="650" height="372" alt="The Louvre" title="" />
+<span class="caption"><i>The Louvre</i></span>
+</div>
+
+<p>Henri II often dwelt over Lescot's plans and devices, and, on one
+occasion, when the poet Ronsard was present, demanded of the architect
+the meaning of the decorations surrounding a great <i>&oelig;il-de-b&oelig;uf</i>
+window, two kneeling figures, one blowing a trumpet, and the other
+extending a palm branch. "Victory and Fame," replied Lescot. And, in
+honour of the architect and his sentiment, Ronsard composed his
+"Franciade." The detail was actually by Goujon, whose design it was,
+under the oversight of the master architect. One may see this <i>chef
+d'&oelig;uvre</i> to-day just above the courtyard portal to the west.</p>
+
+<p>At the death of Henri II, Catherine de M&eacute;dici came here to live alone,
+and built the great extension, which stands to-day and joins the Old
+Louvre with that portion along the banks of the Seine by the double
+arch, through which swing the autobusses coming from the Rive Gauche
+with such a Juggernaut grind that fears for the foundation of the palace
+are ever uppermost in the minds of those responsible for its
+preservation.</p>
+
+
+<p>It is in this Catherine de M&eacute;dici portion of the Louvre (1578) that the
+present Galerie des<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> Antiques is installed, and which is usually
+thronged, in season and out, with globe-trotting sight-seers who give
+seldom a thought to its constructive elegance and its association with
+the M&eacute;dici.</p>
+
+<p>With the first years of the reign of Charles IX, there is to be remarked
+a notable slowness of procedure with regard to the construction of the
+New Louvre. This was brought about chiefly by the conception of the
+Tuileries and the work which was actually begun thereon. Soon a gigantic
+idea radiated from the ambitious mind of Catherine de M&eacute;dici. In this
+connection it must be remembered, however, that Catherine, so commonly
+reviled as "the Italian," was not all Italian; French blood flowed
+through her veins through that of her mother, Madeleine de la Tour
+d'Auvergne. She came first to France, landing at Marseilles, whence she
+arrived from Leghorn, and forthwith commenced her journey Parisward,
+arriving finally at the Louvre as the bride of Prince Henri in the guise
+of a simple, clever girl, though indeed she was twenty years the elder.</p>
+
+<p>Now she dreamed of uniting her chateau of the Tuileries with that of the
+king by a long, connecting gallery. She put action to the thought and
+under Pierre (II) Chambiges, a relative of the Chambiges of
+Fontainebleau and Saint Ger<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span>main, the Petite Galerie, a mere means of
+communication between the two chateaux, and not the least to be likened
+to a defensive structure, was begun and work thereon carried out between
+1564 and 1571, though it remained for Thibaut Metezeau, in 1595-1596, to
+carry it on a stage further under Henri IV.</p>
+
+<p>This architect introduced the notorious mezzanine, which has so
+intrigued historians of the Louvre because of the unequal elevations of
+the various floors, a procedure which was unavoidable save by recourse
+to a substitution less to be objected to than the existing fault.
+Actually the connection with the Tuileries was made by the prolongation
+of this gallery by the Ducerceau brothers in 1595. The work existing
+to-day, but only in its reconstructed form, is the same as that
+completed by Napoleon III (1863-1868).</p>
+
+<p>Charles IX and Henri III, though making the Louvre their residence,
+practically had no hand in its embellishment. The former gave his
+energies and ideals full play in the Saint Bartholomew massacres and
+shot at poor unfortunates who fled beneath the windows of his apartments
+on the quay-side of the Louvre. This, if not the chief incident of his
+association with the fabric, is at least the best remembered<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> one. Henri
+III, too, led a scandalous life within the walls of the Louvre and fled
+on horseback, smuggled out a back door, as it were, on a certain May
+evening in 1588, never more to return, for the Dominican monk Jacques
+Cl&eacute;ment killed him with a knife-thrust before he had got beyond Saint
+Cloud.</p>
+
+<p>The accepted tale of the part played by the famous window of the Louvre
+in the drama of Saint Bartholomew's night is as follows: As the signal
+tolled from the belfry of Saint Germain l'Auxerrois it was answered by
+another peal from the great bell of the Palais de Justice, where, within
+a small apartment over the watergate of the Louvre, the queen and her
+two sons were huddled together not knowing what might happen next. The
+multitude streamed by on the quay before the palace, and, finally, amid
+all the horror of Coligny's murder, and the throwing of his body from a
+window of the Louvre to the street below, Charles IX stood at his window
+regarding the fleeing Huguenots as so much small game, shooting away at
+them with an arquebuse as they went by, and with an unholy glee, even
+boasting that he had killed a score of heretics in a quarter of an hour.</p>
+
+<p>Historians of those exciting times were perhaps none too faithful
+chroniclers and Charles's<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> "excellent shots" in his "royal hunt," and
+hideous oaths and threats such as: "We'll have them all, even the women
+and children," are not details as well authenticated as we would like to
+have them. Like Rizzio's blood stains they lack conviction.</p>
+
+<p>The ambitious white-plumed Henri de Navarre, when he became Henri IV of
+France, set about to connect the tentacle which stretched southward from
+the Old Louvre with the Tuileries (a continuation of the project of
+Catherine de M&eacute;dici), and, by the end of the sixteenth century, had
+built a long fa&ccedil;ade under the advice of the brothers Ducerceau. This
+work was added to on the courtyard side under the Second Empire, when a
+reconstruction, more likely a strengthening of underpinning and walls
+because of their proximity to the swift-flowing waters of the Seine, of
+the work of Henri IV was undertaken.</p>
+
+<p>Joining the Tuileries and this work of Ducerceau was the celebrated
+Pavilion de Flore, a work of the Henri IV period rather than that of
+Catherine de M&eacute;dici.</p>
+
+<p>From the Pavilion de Flore to the Pavilion de Lesdigui&egrave;res ran this long
+gallery of the Ducerceau and numerous interstices and unfinished vaults
+and arches leading towards the Old Louvre were, at this epoch, completed
+by Metezeau and<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> Dupaira. The chief apartment of this structure became
+known as the <i>Galerie Henri IV</i>, and was completed in 1608.</p>
+
+<p>At the death of Henri IV, Richelieu, who at times builded so well, and
+who at others was a base destroyer of monuments, demolished that portion
+which remained of the edifice of Charles V. The work of Pierre Lescot
+was preserved, however, and to give symmetry and an additional extent of
+available space the rectangle facing Saint Germain l'Auxerrois to-day
+was completed, thus enclosing in one corner of its ample courtyard the
+foundations of the earlier work whose outlines are plainly traced in the
+pavement that those who view may build anew&mdash;if they can&mdash;the old
+structure of Philippe Auguste. In mere magnitude the present quadrangle
+is something more than four times the extent of the Louvre of the time
+of Charles V.</p>
+
+<p>This courtyard of the Louvre is perhaps that spot in all Paris which
+presents the greatest array of Renaissance art treasures. From ground to
+sky-line the fa&ccedil;ades are embroidered by the works from the magic hand of
+the <i>Si&egrave;cle Italien</i>. Jean Goujon himself has left his brilliant
+souvenirs on all sides, caryatides, festoons, bas-reliefs, statues and
+colonnades.</p>
+
+<p>Enthusiasm and devotion knew no bounds<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> among those old craftsmen, but
+all is well-ordered, regular and correct. "He who mentions the Louvre to
+a Frenchman gives a greater pleasure than that of M&eacute;h&eacute;met-Ali when one
+praises the pyramids." In a way the Louvre is the most magnificent
+edifice in the universe; "four palaces one piled up on another, <i>une
+ville enti&egrave;re</i>." And when the Louvre was linked with the Tuileries in
+the real, what a splendour it must have been for former generations to
+marvel at! "<i>La plus belle et la plus grande chose sous le soleil.</i>"</p>
+
+<p>This work of aggrandizement of the quadrangle was carried out by the
+architect Lemercier on the basis of a project adopted in 1642, and, to a
+great extent, completed before the arrival of Anne d'Autriche, twenty
+years later.</p>
+
+<p>This queenly personage had ideas of her own as to what sort of a
+residence she would have in Paris, and beyond her personal needs little
+was done for the moment towards actually linking up the various loose
+ends, each more or less complete in itself, which now composed the Paris
+palace of the French monarchs.</p>
+
+<p>Her son, the king in person if not in power, was not likely to be
+endowed with instincts which would put him in the rank of the
+traditional castle or palace builders of his race; it was litera<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>ture,
+music and painting which more particularly flourished during his reign,
+and so the Austrian contented herself at first with merely putting the
+former apartments of Catherine de M&eacute;dici into condition for her personal
+use and building a Salle-de-Spectacle, and&mdash;happy thought&mdash;a
+Salle-des-Bains.</p>
+
+<p>Louis XIV, as he found time, after the war of the Fronde, actually did
+bethink himself of completing, in a way, the work of his elders, and
+charged the architect Levau to finish off the north wing, which was done
+in 1660. A year later the Galerie Henri IV was practically destroyed by
+fire and rebuilt by Levau, who gave the commission for its interior
+decoration to Lebrun.</p>
+
+<p>Soon the south wing was completed, leaving only the gap for the eastern
+fa&ccedil;ade which was intended to be the chief entrance to the mass of
+buildings, which still bore the comprehensive name of "The Louvre."</p>
+
+<p>For the accomplishment of this fa&ccedil;ade, the demolition of certain
+dwellings of the nobility which had clustered around the royal fabric
+was necessary, and the Hotels du Petit Bourbon, de Villequier, de
+Chaumont, La Force, De Cr&eacute;quy, de Longueville, and de Choisy fell before
+the picks of the house-breakers. Levau commenced<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> work on the fa&ccedil;ade at
+once, and made rapid progress until 1664, when an abrupt order came for
+him to stop all work. Political conspiracy, graft, if you like, was at
+work, and Colbert, little favourable towards Levau, made a proposition
+to the king to open a competition for the design and execution of the
+fa&ccedil;ade. Willingly enough, his mind doubtless more occupied with other
+things, Louis XIV agreed, and a general call was sent out to all French
+architects to enter the lists. Confusion reigned, and Levau was about to
+be recalled when Colbert spied an unrolled parchment in the corner and
+pounced upon it eagerly as the means of saving him from the dubious
+efforts of the former incumbent.</p>
+
+<p>It was the "non-professional" plan submitted by a doctor in medicine,
+one Charles Perrault. Jealous competitors made all sorts of criticisms
+and objections, the chief contention being that if by any chance an
+architectural design by a "pill-roller" proved pleasing to the eye it
+was bound to be impracticable from an economic or constructive point of
+view, or both. This is often enough true, and it proved to be so in this
+case, for in spite of a certain amount of advice from an expert Italian
+builder, who had come to Paris to help the good doctor with his
+difficult task (for he actually received a commission for<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> the work and
+completed it in 1674), the fa&ccedil;ade did not fit the rest of the fabric
+with which it was intended to join up, and to-day it may be observed by
+the curious as being several feet out of line with the structure which
+faces on the Rue de Rivoli.</p>
+
+<p>Louis XIV practically had no regard for the Louvre and its architectural
+traditions; his palatial garden-city idea, worked out at Versailles,
+shows what an innovator he was. He allowed the Louvre to be filled up
+with all sorts of riffraff, who were often given a lodging there in
+place of a money payment for some service rendered. The Louvre thus
+became a sort of genteel poor-house, while king and court spent their
+time in the more ample country-house behind the Meudon hills.</p>
+
+<p>By 1750 the Louvre had become little more than an immense ruin, humbled
+and desecrated; a veritable orphan. The Marquis de Marigny, Surintendant
+des Batiments Royaux, obtained the authorization to chase out the
+parasites and clean up the Augean stable and put things in order as best
+pleased his esthetic fancy, but only with the early years of the
+nineteenth century did the Louvre become a real palace again and worthy
+of its traditions.</p>
+
+<p>From 1803 to 1813 the architects Fontaine<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> and Percier were constantly
+engaged in the work of repairs and additions, and built (for Napoleon I)
+the gallery which extends from what is now the Place Jeanne d'Arc to the
+Pavillon de Rohan, along the Rue de Rivoli. This detached portion (bound
+only to the Tuileries) was finally joined to the seventeenth century
+work of Lemercier under Louis Napoleon in 1852. This gallery, the work
+of "moderns," is no mean example of palace-building, either. It was the
+work of Visconti and Lefuel, and with the adoption of this plan was
+finally accomplished the interpolation of that range of pavilions which
+gives the architecture of the Louvre one of its principal distinctions.
+Named after the principal ministers of former administrations&mdash;Donon,
+Mollien, Daru, Richelieu, Colbert, Turgot, etc., these pavilions break
+up what would otherwise be monotonous, elongated fa&ccedil;ades.</p>
+
+<p>The inauguration of this last built portion of the palace was held on
+August 14, 1857, the occasion being celebrated by a banquet given by
+Napoleon III to all the architects, artists and labourers who had been
+engaged upon the work. In the same Salle, two years later, which took
+the name of Salle des &Eacute;tats, the emperor gave a <i>diner de gala</i> to the
+generals returning from the Italian campaign.<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+
+<p>Still further r&eacute;sum&eacute; of fact with regard to the main body of the Louvre,
+as well as with respect to its individual components, will open
+never-ending vistas and pageants. It is not possible in a chapter, a
+book or a five-foot shelf to limn all that is even of cursory interest.
+The well-known, the little-known and the comparatively unknown mingle in
+varying proportions, according to the individual mood or attitude. To
+some the appeal will lie in the vastness of the fabric, to others in the
+varied casts of characters which have played upon its stage, still
+others will be impressed with the dramatic incidents, and many more will
+retain only present-day memories of what they have themselves seen. The
+Louvre is a study of a lifetime.</p>
+
+<p>To resume a none too complete chronology, it is easy to recall the
+following important events which have taken place in the Louvre since
+the days of Henri III, the period at which only the barest beginnings of
+the present structure had been projected.</p>
+
+<p>In 1591 a ghastly procedure took place when four members of the Conseil
+des Seize were hung in the Salle des Caryatides by orders of the Duc de
+Mayenne.</p>
+
+<p>Like the horoscope which foretold the death of Henri III, another royal
+prophecy was cast<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> in 1610 that reminds one of that which perhaps had
+not a little to do with the making away with the last of the Valois
+princes.</p>
+
+<p>The Duc de Vendome, the son of Henri IV by Gabrielle d'Estr&eacute;es, handed
+the king a documentary horoscope signed by an astrologer calling himself
+La Brosse, which warned the king that he would run a great danger on May
+14 in case he went abroad.</p>
+
+<p>"La Brosse is an ass," cried the king, and crumpled the paper beneath
+his feet.</p>
+
+<p>On the day in question the king started out to visit his minister,
+Sully, at the Arsenal. It was then in turning from the Rue Saint Honor&eacute;
+into the Rue de la Ferroni&egrave;re that the royal coach, frequently blocked
+by crowds, offered the opportunity to the assassin Ravaillac, who,
+jumping upon the footboard, stabbed the king twice in the breast.</p>
+
+<p>After having been wounded the king was brought dying to the Louvre. His
+royal coach drew up beneath the vault through which throngs all Paris
+to-day searching for a "short cut" from the river to Saint Honor&eacute;. It
+was but a short, brief journey to the royal apartments above in the
+Pavilion de l'Horloge, but it must have been an interminable calvary to
+the gallant Henri de Navarre. The body was received by<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span> Marie de M&eacute;dici
+in tears, and the Ducs de Guise and d'Epernon clattered out the
+courtyard on horseback to spread the false news that the king had
+suffered no harm. Fearing the results of too precipitate publishing of
+the disaster no other course was open.</p>
+
+<p>A gruesome memory is that the Swiss Guard at the Louvre surreptitiously
+acquired a "<i>quartier</i>" of the dismembered body of the regicide and
+roasted it in a fire set alight beneath the balcony of Marie de M&eacute;dici
+as an indication of their faithfulness and loyalty.</p>
+
+<p>It was Sully, the king's minister, who ran first up the stairs to
+acquaint the queen of the tragedy&mdash;faithful ever to the interests of his
+royal master. In spite of this, one of the first acts of Marie de M&eacute;dici
+as regent was to drive the Baron de Rosny and Duc de Sully away. Such is
+virtue's reward&mdash;sometimes.</p>
+
+<hr style='width: 45%;' />
+
+<p>"Lying on his bed, his face uncovered, clad in white satin and a bonnet
+of red velvet embroidered with gold, was all that remained of Henri IV
+of France and Navarre. Around the bed were nuns and monks from all the
+monasteries of Paris to keep vigil of his soul."</p>
+
+<p>So ends the chronicle closing the chapter of the relations of Henri IV
+with his Paris palace.<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+
+<p>No particularly tragic event took place here for some years. Henriette
+de France, widow of Charles I of England, taking refuge in France from
+the troublous revolt at home, lived in the Louvre in 1644. She had at
+first been graciously received by Mazarin, but was finally accorded only
+the most strict necessities of life, a mere lodging in the Louvre, a
+modest budget and a restricted entourage.</p>
+
+<p>In 1662, under Louis XIV, Moli&egrave;re and his troup, in a theatre installed
+in the Salle des Caryatides, gave the first "command" performance on
+record. The plays produced were, "Nicodeme" and "Le Docteur Amoureux."</p>
+
+<p>An "art note" of interest is that Sylvain Bailly, the first curator of
+the Mus&eacute;e du Louvre, was born within its precincts in 1736.</p>
+
+<p>In the dark days of July, 1830, the populace attempted to pillage and
+sack the palace, but after a bloody reprisal retired, leaving hundreds
+of dead on the field. The <i>parterre</i> beneath the famous colonnade was
+their burial place, though a decade later the bodies were exhumed and
+again interred under the Colonne de Juillet in the Place de la Bastille.</p>
+
+<p>Le Notre, the gardener of kings, laid out the first horticultural
+embellishments of the palace surroundings under Louis XIV, and with
+little<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span> change his scheme of decoration lasted until the time of Louis
+Philippe, who made away with much that was distinctive and excellent.</p>
+
+<p>Napoleon III came to the front with an improved decorative scheme, but
+the hard flags of to-day, the dusty gravel and the too sparse
+architectural embellishments do not mark the gardens of the Louvre as
+being anything remarkable save as a desirable breathing spot for Paris
+nursemaids and their charges.</p>
+
+<p>The iron gates of the north, south and east sides were put into place
+only in 1855, and at the Commune served their purpose fairly well in
+holding the rabble at bay, a rabble to whose credit is the fact that it
+respected the artistic inheritance enclosed by the Louvre's walls. No
+work of art in the museums was stolen or destroyed, though the library
+disappeared.<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h2>
+
+<h3>THE TUILERIES AND ITS GARDENS</h3>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus140.jpg" width="600" height="423" alt="" title="ORIGINAL PLAN of the TUILERIES" />
+</div>
+
+<p>No more sentimental interest ever attached itself to a royal French
+palace than that which surrounded the Tuileries from its inception by
+Charles IX in the mid-sixteenth century to its extinction by the Commune
+in 1871.</p>
+
+<p>The Palace of the Tuileries is no more, the Commune did for it as it did
+for the Hotel de Ville and many another noble monument of the capital,
+and all that remains are the gardens set<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> about with a few marble
+columns and gilt balls&mdash;themselves fragments of former decorative
+elements of the palace&mdash;to suggest what once was the heritage bequeathed
+the French by the M&eacute;dici who was the queen of Saint Bartholomew's night.</p>
+
+<p>It was a palace of giddy gayety that drew its devotees to it only to
+destroy them. "Crowned fools who wished to be called kings, and others."
+Even its stones were chiselled as if with a certain malignancy and
+fatalism, for they have all disappeared, and their history, even, has
+not been written as large as that of those of many contemporary
+structures.</p>
+
+<p>Of the last five kings to which the Tuileries gave shelter&mdash;not counting
+the Second Emperor&mdash;only one went straightway to the tomb; one went to
+the scaffold and three others to exile. A sorry dowry, this, for an
+inheritor of a palace at once so noble and admirable in spite of its
+unluckiness.</p>
+
+<p>With the court followers and the nobility of the last days of the
+monarchy it was the same thing; the Tuileries was but a temporary
+shelter. The scaffold accounted for many and banishment engulfed others
+to forgetfulness.</p>
+
+<p>It was a commonplace at the time to repeat the warning: "O! Tuileries!
+O! Tuileries!<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> Mad indeed are those who enter thy walls, for like Louis
+XVI, Napoleon, Charles X and Louis Philippe you shall make your exit by
+another door."</p>
+
+<p>The origin of the name Tuileries is somewhat ignominiously traced from
+that of a tile factory which existed here in the heart of Paris, on the
+banks of the Seine, in the sixteenth century. The property, which
+comprised a manor-house as well as the tile fields, was known by the
+name of La Sablonni&egrave;re, and came to the Marquis Neuville de Villeroy,
+Superintendent of Finances, who built on the spot a sort of fortified
+chateau, which, if not of palatial dimensions, was of a palatial
+prodigality of luxury.</p>
+
+<p>Louise de Savoie, mother of Francis I, acquired the property in 1518 and
+nine years later gave it to Jean Tiercelin, the Maitre d'Hotel of the
+dauphin, who later was to become Henri II.</p>
+
+<p>The lodge, or manor-house, had, by 1564, fallen into so ruinous a state
+that Catherine de M&eacute;dici, the widow of Henri II, set about to lay the
+foundations of a new royal palace.</p>
+
+<p>Catherine never resided in her projected palace, and in 1566 Charles IX,
+her son, gave the commission to Philibert Delorme to build a palace,
+"neighbouring upon the Louvre, but not to be connected therewith, on the
+site of the Tuileries."<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>
+
+<p>On July 11, work was begun, and the central pavilion and the two
+extremes were carried up two stories within a year. The central
+structure was a great circular-domed edifice, enclosing a marvellous
+Escalier d'Honneur. The fa&ccedil;ade, preceded by two terraced porticos, was
+on the courtyard, or garden, between the edifice and the Louvre. It sat
+back to the present Rue des Tuileries.</p>
+
+<p>The Tuileries did not become a royal residence for some time after its
+completion, for Charles IX clung tenaciously to his well-guarded
+apartments in the Louvre; for the central structure of the Tuileries,
+because of its lack of comparative height, was hardly as much of a
+stronghold as he would have liked.</p>
+
+<p>A contemporary note in connection with Charles IX and the Tuileries is
+found in Ronsard's "<i>&Eacute;pitre &agrave; Charles IX</i>."</p>
+
+<p>
+<span style="margin-left: 3em;">"J'ay veu trop de ma&ccedil;ons</span><br />
+<span style="margin-left: 3em;">Bastir les Tuileries,</span><br />
+<span style="margin-left: 3em;">Et en trop de fa&ccedil;ons</span><br />
+<span style="margin-left: 3em;">Faire les momeries."</span><br />
+</p>
+
+<p>Work on the edifice so auspiciously planned by Delorme was practically
+discontinued during the reign of Henri III, owing to lack of funds.</p>
+
+<p>The Renaissance of Delorme, Bullant, Lescot,<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> each of whom had a hand in
+the building of the Tuileries, expressed certain characteristic phases
+of architectural art in the reigns of Francis I and Henri II. The reign
+of Charles IX was only another phase of that long reign of Catherine de
+M&eacute;dici, and architectural influences continued to follow along the same
+reminiscent Italian lines, particularly with reference to such edifices
+as the M&eacute;dici herself caused to be built. In the dedication of Philibert
+Delorme's "<i>Traite d'Architecture</i>" he expressed himself thus with
+regard to the Tuileries:</p>
+
+<p>"Madame, I see from day to day with an increasing pleasure the interest
+that your Majesty takes in architecture. The palace which you have built
+at Paris near the Pont Neuf and the Louvre is, according to its
+disposition, excellent and admirable to the extent that it pleases me
+beyond measure."</p>
+
+<p>After Delorme considerable changes were made and successfully carried
+out under the architects Ducerceau, Duperac, Levau and Dorbay.</p>
+
+<p>A distinct feature of the work of Delorme was his use of the column
+ornamented throughout its length, which, as he says in his written
+works, he first employed in the "<i>Palais de la Majest&eacute; de la Royne-Mere
+&agrave; Paris</i>."</p>
+
+<p>Of the ability of Delorme there is no diversity<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> of opinion to-day, nor
+was there in his time. Besides the Tuileries he has to his credit the
+Chateau d'Anet, the Chateau de Saint Maur, that of Meudon&mdash;built for the
+Cardinal de Lorraine,&mdash;and his important additions to the Chateau de la
+Muette and the Chateaux of Saint Germain, Madrid and Fontainebleau.</p>
+
+<p>As might be supposed Catherine de M&eacute;dici professed a great admiration
+for Delorme and recompensed his talents with a royal generosity, even
+nominating him as Abb&eacute; of the Convent of Saint Eloi de Noyon, a fact
+which caused the poet Ronsard to evolve a political satire: "La Truelle
+Cross&eacute;e."</p>
+
+<p>At the same time that she was building the Tuileries Catherine de M&eacute;dici
+caused additions to be made to the Louvre; at least she undertook the
+completion of the unfinished portion, which had been left for other
+hands to do.</p>
+
+<p>The first historic souvenir which stands out prominently with regard to
+the Palais des Tuileries is the f&ecirc;te given four days before the fateful
+Saint Bartholomew's night. It was the marriage f&ecirc;te of the gallant Henri
+de B&eacute;arn, King of Navarre, and the wise and witty Marguerite de Valois.</p>
+
+<p>Henri IV, coming to the throne a quarter of a century after the
+admirable first year's work<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> on the Tuileries had been completed, found
+that little had been done towards making it a really habitable place. It
+had been hurriedly finished off to the second story, and had served well
+enough for a temporary residence, or as an overflow establishment where
+balls and f&ecirc;tes might be given without crowding, but to the ambitious
+Henri IV nothing would do but that the pavilions should be bound
+together with a more imposing ligature, and that the Pavillon de Flore
+should in turn be linked up with the Louvre by a gallery.</p>
+
+<p>Under Louis XIII this latter really came to a conclusion according to
+the plans of the architect Ducerceau, but the inspiration of making the
+Louvre and the Tuileries one was due to Henri IV.</p>
+
+<p>Under Louis XIV and Louis XV the palace in its still attenuated form was
+scarcely more than a rambling lodging, utterly lacking any of the noble
+apartments with which it was afterwards endowed. The court at this time
+practically made Versailles its headquarters. Neither of the
+above-mentioned monarchs made aught but cursory visits to the Tuileries
+and left its occupancy to officers of the household and ministers of
+state.</p>
+
+<p>It was in the reign of Louis XV that the Florentine artist, Servandoni,
+who was at the same<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> time an eminent architect, a remarkable painter and
+a <i>maestro</i> of a musician, organized in the Palais des Tuileries the
+Theatre des Machines, the first installed at Paris, and there came the
+Com&eacute;die Fran&ccedil;aise, the Opera and the Bouffes (the <i>Com&eacute;die Italienne</i>)
+and gave command performances before the court.</p>
+
+<p>When the French resolved that Louis XVI should live in Paris, the Palais
+des Tuileries was actually offered him, but it was a rather shabby place
+of royal residence so far as its interior appointments were concerned,
+though in all ways appealing when viewed from without. Considerable
+repairs and embellishments were made, but warring factions did much to
+make difficult any real artistic progress.</p>
+
+<p>With the advent of Louis XVI there came a contrast to gayety and freedom
+from care in royal hearts and heads. On October 5 Louis XVI and the
+royal family hid themselves behind barred doors, the convention taking
+up its sittings under the same roof and forthwith passing an act which
+allowed the completion of the palace according to the plans of Vignon at
+an expense of three hundred thousand <i>livres</i>. An almost entire
+transformation took place, the money being seemingly well spent, and the
+structure now first took its proper place among the monumental art
+treasures of the capital.<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+
+<p>A dramatic incident took place at the great gate of the Tuileries, which
+faced the courtyard, when, on May 28, 1795, the populace surged in waves
+against its sturdy barrier. The Deputy F&eacute;raud met them at the steps.
+"You may enter only over my dead body," he said. No reply was made but
+to crack his skull, behead the trunk and carry the head aloft on a pike
+to the very Tribune where Boissy d'Anglas was presiding.</p>
+
+<p>The Salle de Spectacle of the Tuileries was, even at this period, the
+largest auditorium of its kind in Europe, having eight thousand stalls
+and boxes, which gave a seating capacity of considerably more than that
+number of persons.</p>
+
+<p>In 1793 this playhouse, of which the parquet occupied the ground floor
+of the Pavillon de Marsan, underwent a strange metamorphosis when it
+became the legislative hall for the National Convention. All the names
+and emblems showing forth in its decorations and indicative of its
+ancient rule were changed into Republican devices and symbols. The
+Pavillon de Marsan was called the Pavillon de l'Egalit&eacute;, the Pavillon du
+Centre became the Pavillon de l'Unit&eacute; and the Pavillon de Flore the
+Pavillon de la Libert&eacute;, where was lodged the Committee of Public
+Safety.<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+<p>The Hall of the Convention, according to reports of the time, was an
+appalling mixture of grandeur and effeminacy with respect to its
+architectural lines. Surrounding that portion where the legislators
+actually sat was the great amphitheatre which for three years was
+occupied by a curious, vociferous public, more demonstrative, even, than
+those that had attended the former theatrical representations in the
+same apartment.</p>
+
+<p>From the opening of the National Convention to the reaction of
+"Thermidor" it is estimated that more than three million people assisted
+at what they rightly, or wrongly, considered as a "spectacle" staged
+only for their amusement.</p>
+
+<p>By the time Napoleon had come into power the Tuileries was hardly
+habitable, and before taking up his residence he was obliged to make
+immediate and extensive transformations.</p>
+
+<p>On February 19, 1800, Napoleon, still First Consul, left the Palais de
+Luxembourg and took up his residence in the Tuileries, the Third Consul,
+Lebrun, being lodged in the Pavillon de Flore, in the "Petite
+Appartement," which Marie Antoinette had fitted up for her temporary
+accommodation when in town. Lebrun, however, gave up his lodging to the
+Pope when the Pontiff came to Paris at Napoleon's orders. Consul
+Cambac&egrave;res, however, refused to shelter himself<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> beneath the roof of the
+Tuileries, and indicated a preference for the magnificent Hotel
+d'Elb&oelig;uf, which was accommodatingly put at his disposition.</p>
+
+<div class="figcenter" style="width: 442px;">
+<img src="images/illus151.jpg" width="442" height="600" alt="Salle des Marechaux, Tuileries" title="" />
+<span class="caption"><i>Salle des Marechaux, Tuileries</i></span>
+</div>
+<p>Napoleon entered the Tuileries in state, preceded and followed by an
+imposing cort&egrave;ge. At the gate of the Carrousel the consuls alighted from
+their carriages, and were received by the Consular Guard. On their
+arrival the consuls read the following inscription posted at the
+entrance: "On August 10th monarchy in France was forever abolished; it
+will never be restored." By the 20th of February the inscription had
+disappeared. Besides, orders were given to cut down the two liberty
+trees which had been planted in the courtyard. On August 10 a large
+quantity of cannon shot had been lodged in the fa&ccedil;ade of the Tuileries,
+and around the shot were written these words: "Tenth of August." The
+cannon balls disappeared, as well as the inscriptions, when the Arc de
+Triomphe was erected on the Place du Carrousel.</p>
+
+<p>This alteration gave great satisfaction. It was important for the
+tranquillity of France that the new government should inherit rather the
+sword of Charlemagne than the guillotine of Marat.</p>
+
+
+<p>The imperial court soon displayed its splendour<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> and magnificence in
+the Palais des Tuileries, as a foregone conclusion anticipated.</p>
+
+<p>In a gorgeous and imposing Salle du Trone one might have seen in the
+deep casement of the central window, standing up, their hats off, the
+group of the Corps Diplomatique, the members of which, loaded with
+decorations, ensigns, and diamonds, trembled in the presence of the
+Little Corporal of other days; on the other side, the host of the
+Princes of the Rhine Confederation&mdash;all the personages that Germany,
+Russia, Poland, Italy, Denmark, Spain, all Europe, in one word, England
+excepted, had sent to Paris.</p>
+
+<p>It is needless to say that the wedding reception of Napoleon and Marie
+Louise at the Tuileries was celebrated with unusual magnificence.
+Another event, on account of its peculiar moment, strongly excited the
+enthusiasm of the French. On March 20, 1811, at seven o'clock in the
+morning, the first salute of cannon announced that the empress had given
+birth to a child, the future Aiglon, the King of Rome.</p>
+
+<p>After Napoleon's occupancy of the Tuileries it again served the monarch
+under the Empire, the Restoration, under Louis Philippe and under the
+Second Empire. The palace of unhappy memory saw successively the fall of
+Napoleon,<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> the entry of Louis XVIII, the file-by of the Allies, the
+flight of Louis XVIII, of Charles X, Louis Philippe and Napoleon III.</p>
+
+<p>Up to the time of the Second Empire the Tuileries preserved, more or
+less, its original interior arrangement, and, to a great extent, the
+decorations with which it had been embellished under Louis XIV, Louis
+XVI, and Napoleon I.</p>
+
+<p>The Pavilion de Flore, at the juncture of the Tuileries and the Louvre
+of Henri IV, was practically rebuilt during the Second Empire, but it
+followed closely the contemporary designs of the adjoining building.
+Here are quartered executive offices of the Pr&eacute;fecture de la Seine. That
+portion facing the Pont Royal contains a series of fine sculptures by
+Carpeaux, the sole modern embellishments of this nature to be seen in or
+on a Paris palace.</p>
+
+<p>As the Commune mob was fleeing before the army of Versailles a
+conflagration broke out in the Tuileries and soon the whole edifice was
+in flames. Within what may have been the briefest interval on record for
+a conflagration of its size the Tuileries was but a smoking pile of
+half-calcined stones.</p>
+
+<p>The Tuileries had another brief day of glory when the Prince President,
+Louis Napoleon, entered its gates, coming straight from his inauguration
+at Notre Dame.<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span></p>
+
+<p>The cannon at the Hotel des Invalides blazed out a welcome and every
+patriot Republican shouted: "Vive Napoleon!" They little knew, little
+cared perhaps, that he would some day become the Second Emperor.</p>
+
+<p>The throng poured forth from the cathedral after the <i>Domine Salvum</i> and
+the benediction, the clergy leading the way, followed by the president
+and his attendants. The orchestra played a lively march, and the great
+bell in the tower boomed forth a glorious peal.</p>
+
+<hr style='width: 45%;' />
+
+<p>The president's carriage drew up before the gates of the Tuileries and
+he entered the great apartment where a reception was given to various
+public and military bodies. Between seven and eight thousand naval and
+military officers paid their respects, and about half a battalion of the
+army saluted, among them two Mamelukes. While this ceremony was going
+on, the Place du Carrousel was occupied by several squadrons of cavalry
+and the inner courtyards were practically infantry camps. The government
+was taking no chances at the beginning of its career. The reception
+lasted until well on towards evening, when a banquet of four hundred
+covers was laid and partaken of by the invited guests.</p>
+
+<p>The last days of the Tuileries may be said to<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> have commenced with that
+eventful September 3, 1870, at five o'clock in the afternoon, when the
+Empress Eugenie received a telegraphic despatch from Napoleon III
+announcing his captivity and the defeat of Sedan. It was the overthrow.</p>
+
+<p>The evening and the night were calm; the masses, as yet, were unaware of
+the fatal news the journals would publish on the morrow. The following
+day was Sunday; the weather superb; the disaster was finally announced
+and the masses thronged from all parts to the Place de la Concorde,
+where a squadron of Cuirassiers barred the bridge leading to the Palais
+Bourbon where the deputies were in session.</p>
+
+<p>On the arrival of the news the empress had called in General Trochu, the
+Military Governor of Paris, and asked him if he could guarantee order.
+He replied in the affirmative. Some hours later a group of deputies came
+to the empress and counselled her to sign, not an abdication, but a
+momentary renunciation of her powers as regent. Eugenie refused
+point-blank.</p>
+
+<p>The throng, passing by the left bank, had arrived at the Chamber of
+Deputies, and the formal sitting became a revolutionary one. At three
+o'clock the imperial dynasty was proclaimed as at an end, and a
+provisionary government installed. Henri Rochefort, the present<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> editor
+of the "<i>Intransingeant</i>," was delivered from the prison of Sainte
+P&eacute;lagie and made a member of the government.</p>
+
+<p>By this time the mob which had invaded the Place de la Concorde became
+menacing. The cry, "Aux Tuileries," first launched by the street gamins,
+soon became the slogan of the crowd. To say it was to do it; the great
+iron gates were closed, but in default of a protecting force of arms it
+was an easy matter to scale them.</p>
+
+<p>Behind the curtained windows of the palace the empress witnessed the
+assault and murmured to her ladies-in-waiting: "It is then finished."
+She turned towards the Prince de Metternich and the Chevalier Nigra,
+and, in the voice of a suppliant, demanded: "<i>Que me consillez vous?</i>"</p>
+
+<p>"You must leave at once, Madame; in a moment the palace will be
+invaded."</p>
+
+<p>The empress became resigned and accompanied by Madame Le Breton,
+Metternich and Nigra started for the Pavilion de Flore, passing through
+the Galerie de Mus&eacute;e and the Galerie d'Apollon, finally leaving by the
+gate of the Louvre, which is opposite Saint Germain l'Auxerrois.</p>
+
+<p>The empress was at last out of the palace, but not yet out of danger. A
+band of manifestants, making for the Hotel de Ville and shouting; "Vive
+la Republique," recognized the em<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span>press, but she mounted an empty fiacre
+with Madame Le Breton, and giving the driver the first address that
+entered her mind thus escaped further indignities, and perhaps danger.
+Finally she found a refuge with Doctor Evans, the American dentist
+living in the Avenue Malakoff, from whose house she left for England on
+the following day.</p>
+
+<p>This is the Frenchman's point of view of one of the picturesque
+incidents of history. It disposes of the legend that the empress left
+the Tuileries in the carriage of Doctor Evans, but this cannot be
+helped, with due regard for the consensus of French opinion. Doctor
+Evans was a family friend, besides being the dentist who cared for the
+imperial teeth, and it is not going beyond the truth to state that the
+fortunate American acquired not a little of his vogue and wealth by his
+association with Napoleon III and his family.</p>
+
+<p>By this time the populace had invaded the palace and cursed with
+indignities unmentionable the marble halls, and the furnishings in
+general, and pillaged such portable property as pleased the individual
+fancies of the spoilsmen.</p>
+
+<p>After the signing of the Peace Treaty by the Bordeaux Assembly, which
+now represented the governmental head, and Thiers had become presi<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span>dent,
+that worthy would do away with the cannon of which the National Guard
+still held possession in their garrison on the Butte of Montmartre. The
+orders which he sent forth came to be the signal for another outbreak on
+the part of the populace. On March 18 the Commune was proclaimed and
+Citoyen Dardelle, an old African hunter, was appointed military governor
+of the Tuileries. Whatever this individual's military qualifications may
+have been, he delivered himself to the enjoyment of a high and dissolute
+life in his luxurious apartments in the palace; a fact which was
+speedily made note of by the still restless populace.</p>
+
+<p>The Citoyen Rousselle, a member of the Communal Government, had the idea
+of organizing a series of popular concerts in the gardens of the
+Tuileries for the profit of the wounded in the late friction.</p>
+
+<p>Hung on the walls, at the entrance of each apartment was a placard which
+read: "Fellow men, the gold with which these walls were built was earned
+by your sweat." "To-day you are coming to your own." "Remain faithful to
+your trust and see to it that the tyrants enter never more."</p>
+
+<p>During one of these public concerts a poem of H&eacute;g&eacute;sippe Moreau was read
+which termi<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span>nated as follows, and set the populace aflame.</p>
+
+<p>
+<span style="margin-left: 2em;"><i>* &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *</i></span><br />
+<span style="margin-left: 3em;">"Et moi j'applaudirai; ma jeuneusse engourdie</span><br />
+<span style="margin-left: 3em;">Se r&eacute;chauffera a ce grand incendie."</span><br />
+</p>
+
+<p>He referred to the burning of the former abode of emperors and kings as
+a sort of sacrifice to the common good. The public had held itself in
+hand very well up to this moment, but applauded the verses vociferously.
+The last of the concerts was held on May 21, the same day as the Army of
+Versailles entered Paris. Night came, and with it the raging, red flames
+springing skywards from the roof of the Tuileries.</p>
+
+<p>In a few moments the flames had enveloped the entire building. All the
+forces that it was possible to gather had been ordered upon the scene,
+but they were unable to save the old palace, and by one o'clock in the
+morning it was but a mass of smoking ruins. The Communards had done
+their work well. Before leaving its precincts they had sprinkled coal
+oil over every square metre of carpet, window-hangings and tapestries,
+and the slow-match was not long in passing the fire to its inflammable
+timber. The library of the Louvre was destroyed, but the museums,
+galleries and their famous collections fortunately escaped.<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+
+<p>For a dozen years the lamentable ruins of the old palace of the
+Tuileries reared their singed walls, a witness and a reproach to the
+tempestuosity of a people. Finally, in 1882, Monsieur Achille Picard
+undertook their removal for thirty-three thousand francs, and within a
+year not a vestige, not an unturned stone remained in its original place
+as a witness to this chapter of Paris history.</p>
+
+<p>Two porticos of the Pavillon de l'Horloge, originally forming a part of
+the Tuileries, have been re-erected on the terrace of the Orangerie,
+facing the Place de la Concorde.</p>
+
+<p>There remain but two survivors of the late imperial sway in France, the
+Empress Eugenie who lives in England, and Emile Olivier, "<i>l'homme au
+c&oelig;ur l&egrave;ger</i>," who lives at Saint Tropez in the Midi.</p>
+
+<p>A Paris journalist a year or more ago, while sitting among a little
+coterie of literary and artistic folk at Lavenue's famous terrace-caf&eacute;,
+recounted the following incident clothed in most discreet language, and
+since it bears upon the Tuileries and its last occupants it is repeated
+here.</p>
+
+<p>"Last night beneath the glamour of a September moon I saw a black shadow
+silently creep out from beneath the gloom of the arcades of<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> the Rue de
+Rivoli just below the Hotel Continental. It crossed the pavement and
+passed within the railings of the gardens opposite, one of the gates to
+which, by chance or prearranged design, was still open. It moved slowly
+here and there upon the gravelled walks and seated itself upon a
+solitary bench as if it were meditating upon the splendid though sad
+hours that had passed. Was it a wraith; was it Eugenie, late empress of
+the French?"</p>
+
+<p>To have remembered such a dream of fancy for forty long years one must
+have been endowed with superhuman courage, or an inexplicable
+conscience.</p>
+
+<p>The Rue des Pyramides, which has been prolonged to the banks of the
+Seine, will give those of the present generation who have never seen the
+Tuileries an exact idea of its location. If it still existed the fa&ccedil;ade
+of the palace would front upon this street.</p>
+
+<p>The most moving history of the detailed horrors of the Commune,
+particularly with reference to the part played by the Tuileries therein,
+is to be found in Maxime Ducamp's "<i>Les Derniers Convulsions de Paris</i>."</p>
+
+<p>One relic of the Tuileries left unharmed found a purchaser in a
+Roumanian prince, at a public sale held as late as 1889. This was the
+ornately<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> beautiful iron gate which separated the Cour du Carrousel from
+the Cour des Tuileries. Roumanian by birth, French at heart and Parisian
+by adoption, this wealthy amateur, for a trifle over eight thousand
+francs, became the owner of a royal souvenir which must have cost five
+hundred times that sum.</p>
+
+<p>The eastern front of the Tuileries opened into a courtyard formed under
+the direction of the first Napoleon. It was separated from the Place du
+Carrousel by a handsome iron railing with gilt spear-heads extending the
+whole range of the palace. From this court there were three entrances
+into the Place du Carrousel, the central gate corresponding with the
+central pavilion of the palace, the other two having their piers
+surmounted by colossal figures of victory, peace, history and France. A
+gateway under each of the lateral galleries also communicated on the
+north with the Rue de Rivoli, and on the south with the Quai du Louvre.
+The Place du Carrousel was named in honour of a tournament held upon the
+spot by Louis XIV in 1662. It communicated on the north with the Rue
+Richelieu and the Rue de l'Echelle, and on the south with the Pont Royal
+and the Pont du Carrousel. To-day in the square stands the triumphal
+arch erected by Napoleon in 1806, after the designs of Percier and
+Fontaine.<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span></p>
+
+<p>The newly laid-out and furbished-up gardens make the Place du Carrousel
+even more attractive than it was when set about with flagged areas,
+gravelled walks and paved road ways, and, while the monumental and
+architectural accessories excel the horticultural embellishments in
+quantity, the general effect is incomparably finer at present than
+anything known before.</p>
+
+<p>Plans for rebuilding the Place du Carrousel provide for a division into
+three distinct parts, three grand <i>pelouses</i>, <i>&agrave; boulingrins &agrave; la
+Fran&ccedil;ais</i>, or lawns of a circumscribed area, according to the best
+traditions of Le Notre, a border of flowers and a few decoratively
+disposed clumps of flowering shrubs, the whole combined in such a way
+that the perspective and vista down the Champs Elys&eacute;es will in no manner
+suffer. The architect-landscapist, M. Redon, who has been charged with
+the work, has drawn his inspiration from a series of unexecuted designs
+of Le Notre which have recently been brought to light from the innermost
+depths of the national archives. It was a safe way of avoiding an
+anachronism, and this time a government architect has chosen well his
+plan of execution.</p>
+
+<p>In later years the question of the re&euml;mbellishment of the Garden of the
+Tuileries has ever been before the public, but little has actually<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span> been
+changed save the remaking of certain garden plots, the planting of a few
+shrubs or the placing of a few statues.</p>
+
+<p>The Garden of the Tuileries has a superficial area of 232,632 square
+metres. It is the most popular of all open spaces in the capital to the
+Parisian who would take his walks abroad not too far from the centre of
+things. The chief curiosity of the garden is the celebrated chestnut
+tree which burst into flower on the day of Napoleon's arrival from
+Elba&mdash;March 20. The precocious tree has ever been revered by the
+Bonapartists since, though the tree has never performed the trick the
+second time.</p>
+
+<p>Statues innumerable are scattered here and there through the garden and
+give a certain sense of liveliness to the area. Some are by famous
+names, others by those less renowned, but as a whole they make little
+impression on one, chiefly, perhaps, because one does not come to the
+Garden of the Tuileries to see statues.</p>
+
+<p>To the left and right are the terraces, first laid out by the celebrated
+Le Notre. Like the hanging gardens of Babylon, they overlook a lower
+level of <i>parterres</i>, gravelled walks and ornamental waters. Along the
+Rue de Rivoli is the Terrasse de l'Orangerie, and on the side of the
+river is the Terrasse de la Marine.<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span></p>
+
+<p>According to the original plans of Le Notre the garden was set down as
+five hundred <i>toises</i> in length, and one hundred and sixty-eight
+<i>toises</i> in width, the latter dimension corresponding to that of the
+fa&ccedil;ade of the palace.</p>
+
+<p>Along the shady avenues of this admirable city garden of to-day an
+enterprising <i>concessionaire</i> has won a fortune by renting out
+rush-bottomed chairs to nursemaids, retired old gentlemen with red
+ribbons in their buttonholes, and trippers from across the channel. It
+is a perfectly legitimate enterprise and a profitable one it would seem,
+and has been in operation considerably more than half a century.</p>
+
+<p>It was from the Gardens of the Tuileries in 1784 that took place
+Blanchard's celebrated ascension in Montgolfier's balloon and brought
+forth the encomium from the British Royal Society that the body was not
+in the least surprised that a Frenchman should have solved the problem
+of "volatability." The French monarch, more practical, was so mightily
+pleased with the success of the experiment that he bestowed upon the
+author the sum of four hundred thousand francs from his treasury to be
+used for the perfection of the art.<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h2>
+
+<h3>THE PALAIS CARDINAL AND THE PALAIS ROYAL</h3>
+
+
+<p>With the Louvre and the Tuileries the Palais Royal shares the popular
+interest of the traveller among all the monuments of Paris. No other
+edifice evokes more vivid souvenirs of its historic past than this
+hybrid palace of Richelieu. One dreams even to-day, of its
+sumptuousness, its legends, its amusing and extravagant incidents which
+cast a halo of romantic interest over so many illustrious personages. So
+thoroughly Parisian is the Palais Royal in all things that it has been
+called "the Capital of Paris."</p>
+
+<p>Not far from the walled and turreted stronghold of the old Louvre rose
+the private palaces, only a little less royal, of the Rambouillets, the
+Merc&oelig;urs and other nobles of the courtly train. They lived, too, in
+almost regal state until Armand du Plessis de Richelieu came to humble
+their pride, by fair means or foul, by buying up or destroying their
+sumptuous dwellings, levelling off a vast area of land, and, in 1629,
+commencing work on that imposing pile which was first known<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span> as the
+Palais Cardinal, later the Palais d'Orleans, then as the Palais de la
+Revolution and finally as the Palais Royal.</p>
+
+<p>It was near, yet far enough away from the royal residence of the Louvre
+not to be overshadowed by it. The edifice enclosed a great square of
+ground laid out with symmetrically planted trees and adorned with
+fountains and statues.</p>
+
+<p>From the great central square four smaller courts opened out to each of
+the principal points of the compass; there were also, besides the living
+rooms, a chapel, two theatres, ballrooms, boudoirs and picture
+galleries, all of a luxury never before dreamed of but by kings.</p>
+
+<p>The main entrance was in the Rue Saint Honor&eacute;, and over its portal were
+the graven arms of Richelieu, surmounted by the cardinal's hat and the
+inscription: "Palais Cardinal." Like his English compeer, Wolsey,
+Richelieu's ardour for building knew no restraint. He added block upon
+block of buildings and yard upon yard to garden walls until all was a
+veritable labyrinth. Finally the usually subservient Louis saw the
+condition of things; he liked it not that his minister should dwell in
+marble halls more gorgeous than his own. As a matter of policy the
+Cardinal ceased to build more and at his death, as if to atone, willed
+the entire property to his king.<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+
+<p>As the Palais Cardinal, the edifice was subjected to many impertinent
+railleries from the public which, as a whole, was ever antagonistic to
+the "<i>Homme Rouge</i>." They did not admit the right of an apostolic
+prelate of the church to lodge himself so luxuriously when the very
+precepts of his religion recommended modesty and humility. Richelieu's
+contemporaries did not hesitate to admire wonderingly all this luxury of
+life and its accessories, and Corneille, in the "<i>Menteur</i>" (1642),
+makes one of the principal characters say:</p>
+
+<p>
+<span style="margin-left: 3em;">"Non, l'univers ne peut rien voir d'&eacute;gal</span><br />
+<span style="margin-left: 3em;">Aux superbes dehors du Palais Cardinal;</span><br />
+<span style="margin-left: 3em;">Toute une ville enti&egrave;re avec pompe b&acirc;tie,</span><br />
+<span style="margin-left: 3em;">Semble d'un vieux foss&eacute; par miracle sortie,</span><br />
+<span style="margin-left: 3em;">Et nous fais pr&eacute;sumer &agrave; ses superbes toits</span><br />
+<span style="margin-left: 3em;">Que tous ses habitants sont des dieux ou des rois."</span><br />
+</p>
+
+<p>The ground plan of the Palais Cardinal was something unique among city
+palaces. In the beginning ground values were not what they are to-day in
+Paris. There were acres upon acres of greensward set about and cut up
+with gravelled walks, great alleyed rows of trees, groves without number
+and galleries and colonnades innumerable. Without roared the traffic of
+a great city, a less noisy traffic than that of to-day, perhaps, but
+still<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> a contrasting maelstrom of bustle and furor as compared with the
+tranquillity within.</p>
+
+<p>After the edifice was finished it actually fell into disuse, except for
+the periodical intervals when the Cardinal visited the capital. At other
+times it was as quiet as a cemetery. Moss grew on the flags, grass on
+the gravelled walks and tangled shrubbery killed off the budding flowers
+of the gardens.</p>
+
+<p>Richelieu's last home-coming, after the execution of Cinq-Mars at Lyons,
+was a tragic one. The despot of France, once again under his own
+rooftree, threw himself upon his bed surrounded by his choicest pictures
+and tapestries, and paid the price of his merciless arrogance towards
+all men&mdash;and women&mdash;by folding his wan hands upon his breast and
+exclaiming, somewhat unconvincingly: "Thus do I give myself to God." As
+if recalling himself to the stern reality of things he added: "I have no
+enemies but those of State."</p>
+
+<p>In a robe of purple silk, supported by pillows of the finest down and
+covered with the rarest of laces, he rigidly straightened himself out
+and expired without a shudder, with the feeling that he was well beyond
+the reach of invisible foes. But before he died Richelieu received a
+visit from his king in person. This was another token of his invincible
+power.<span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
+
+<p>Thus the Palais Royal was evolved from the Palais Cardinal of Richelieu.
+Richelieu gave the orders for its construction to Jacques Lemercier
+immediately after he had dispossessed the Rambouillets and the
+Merc&oelig;urs, intending at first to erect only a comparatively modest
+town dwelling with an ample garden. Vanity, or some other passion,
+finally caused to grow up the magnificently proportioned edifice which
+was called the Palais Cardinal instead of that which was to be known
+more modestly as the Hotel de Richelieu.</p>
+
+<p>Vast and imposing, but not without a certain graceful symmetry, the
+Palais Royal of to-day is a composition of many separate edifices
+divided by a series of courts and gardens and connected by arcaded
+galleries. The right wing enclosed an elaborate Salle de Spectacle while
+that to the left enclosed an equally imposing chamber with a ceiling by
+Philippe de Champaigne, known as the Galerie des Hommes Illustr&eacute;s, and
+further ornamented with portraits of most of the court favourites of
+both sexes of the time. The architectural ornamentation of this gallery
+was of the Doric order, most daringly interspersed with moulded ships'
+prows, anchors, cables and what not of a marine significance.</p>
+
+<p>In 1636, divining the attitude of envy of many<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span> of the nobility who
+frequented his palace, Richelieu&mdash;great man of politics that he
+was&mdash;made a present of the entire lot of curios to Louis XIII, but
+undertaking to house them for him, which he did until his death in 1642.</p>
+
+<p>At the death of Louis XIII the Palais Cardinal, which had been left to
+him in its entirety by the will of Richelieu, came to Anne d'Autriche,
+the regent, who, with the infant Louis XIV and the royal family,
+installed herself therein, and from now on (October 7, 1642), the
+edifice became known as the Palais Royal.</p>
+
+<p>Now commenced the political r&ocirc;le of this sumptuous palace which hitherto
+had been but the Cardinal's caprice. Mazarin had succeeded Richelieu,
+and to escape the anger of the Frondeurs, he, with the regent and the
+two princes, Louis XIV and the Duc d'Anjou, fled to the refuge of Saint
+Germain-en-Laye.</p>
+
+<p>In company with Mademoiselle de Montpensier, who had been rudely
+awakened from her slumbers in the Luxembourg, they took a coach in the
+dead of night for Saint Germain. It was a long and weary ride; the <i>Pavi
+du Roi</i> was then, as now, the most execrable suburban highroad in
+existence.</p>
+
+<p>When calm was re&euml;stablished Mazarin refused to allow the regent to take
+up her residence<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span> again in the old abode of Richelieu and turned it over
+to Henriette de France, the widow of Charles I, who had been banished
+from England by Cromwell.</p>
+
+<p>Thirty odd years later Louis XIV, when he was dreaming of his Versailles
+project, made a gift of the property to his nephew, Philippe d'Orleans,
+Duc de Chartres. Important reconstructions and rearrangements had been
+carried on from time to time, but nothing so radical as to change the
+specious aspect of the palace of the Cardinal's time, though it had been
+considerably enlarged by extending it rearward and annexing the Hotel
+Danville in the present Rue Richelieu. Mansart on one occasion was
+called in and built a new gallery that Coypel decorated with fourteen
+compositions after the &AElig;nid of Virgil.</p>
+
+<p>Under the regency the Salon d'Entr&eacute;e was redecorated by Oppenard, and a
+series of magnificent f&ecirc;tes was organized by the pleasure-loving queen
+from the Austrian court. Richelieu's theatre was made into an
+opera-house, and masked balls of an unparalleled magnificence were
+frequently given, not forgetting to mention&mdash;without emphasis
+however&mdash;suppers of a Pantagruelian opulence and lavish orgies at which
+the chronicles only hint.<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span></p>
+
+<p>In 1661, Monsieur, brother of the king, took up his official residence
+in the palace, enlarged it in various directions and in many ways
+transformed and improved it. Having become the sole proprietor of the
+edifice and its gardens, by Letters Patent of February, 1692, the Duc
+d'Orleans left this superb property, in 1701, to his son the too famous
+regent, Philippe d'Orleans, whose orgies and extravagances rendered the
+Palais Royal notorious to the utmost corners of Europe.</p>
+
+<p>The first years of the eighteenth century were indeed notorious. It was
+then that Palais Royal became the head-centre for debauch and abandon.
+It is from this epoch, too, that date the actual structures which to-day
+form this vast square of buildings, at all events their general outline
+is little changed to-day from what it was at that time.</p>
+
+<p>If the regent's policy was to carry the freedom and luxury of
+Richelieu's time to excess, replacing even the edifices of the Cardinal
+with more elaborate structures, his son Louis (1723-1752) sought in his
+turn to surround them with an atmosphere more austere.</p>
+
+<p>A disastrous fire in 1763 caused the Palais Royal to be rebuilt by order
+of Louis Philippe d'Orleans, the future Philippe-Egalit&eacute;, by the
+architect Moreau, who carried out the old tra<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span>ditions as to form and
+outline, and considerably increased the extent and number of the arcades
+from one hundred and eighty to two hundred and seven. These the astute
+duke immediately rented out to shopkeepers at an annual rental of more
+than ten millions. This section was known characteristically enough as
+the Palais Marchand, and thus the garden came to be surrounded by a
+monumental and classic arcade of shops which has ever remained a
+distinct feature of the palace.</p>
+
+<p>A second fire burned out the National Opera, which now sought shelter in
+the Palais Royal, and in 1781 the Theatre des Variet&eacute;s Amusantes was
+constructed, and which has since been made over into the home of the
+Com&eacute;die Fran&ccedil;aise.</p>
+
+<p>The transformations imposed by Philippe-Egalit&eacute; were considerable, and
+the famous chestnut trees, which had been planted within the courtyard
+in the seventeenth century by Richelieu, were cut down. He built also
+the three transverse galleries which have cut the gardens of to-day into
+much smaller plots than they were in Richelieu's time. In spite of this
+there is still that pleasurable tranquillity to be had therein to-day,
+scarcely a stone's throw from the rush and turmoil of the whirlpool of
+wheeled traffic which centres around the junction of the Rue Richelieu
+with the<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> Avenue de l'Opera. It is as an oasis in a turbulent sandstorm,
+a beneficent shelf of rock in a whirlpool of rapids. The only thing to
+be feared therein is that a toy aeroplane of some child will put an eye
+out, or that the more devilish <i>diabolo</i> will crack one's skull.</p>
+
+<p>Under the regency of the Duc Philippe d'Orleans the various apartments
+of the palace were the scenes of scandalous goings-on, which were
+related at great length in the chronicles of the time. It was a very
+mixed world which now frequented the <i>purlieus</i> of the Palais Royal. Men
+and women about town jostled with men of affairs, financiers,
+speculators and agitators of all ranks and of questionable
+respectability. Milords, as strangers from across the Manche came first
+to be known here, delivered themselves to questionable society and still
+more questionable pleasures. It was at a little later period that the
+Duc de Chartres authorized the establishment of the caf&eacute;s and
+restaurants which for a couple of generations became the most celebrated
+rendezvous in Paris&mdash;the Caf&eacute; de Foy, the Caf&eacute; de la Paix, the Caf&eacute;
+Carrazzo and various other places of reunion whose very names, to say
+nothing of the incidents connected therewith, have come down to history.</p>
+
+<p>It was the establishment of these public ren<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span>dezvous which contributed
+so largely to the events which unrolled themselves in the Palais Royal
+in 1789. This "Eden de l'Enfer," as it was known, has in late years been
+entirely reconstructed; the old haunts of the Empire have gone and
+nothing has come to take their place.</p>
+
+<p>Then came another class of establishments which burned brilliantly in
+the second rank and were, in a way, political rendezvous also&mdash;the Caf&eacute;
+de Chartres and the Caf&eacute; de Valois. Of all these Palais Royal caf&eacute;s of
+the early nineteenth century the most gorgeous and brilliant was the
+Caf&eacute; des Mille Colonnes, though its popularity was seemingly due to the
+charms of the <i>maitresse de la maison</i>, a Madame Romain, whose husband
+was a dried-up, dwarfed little man of no account whatever. Madame
+Romain, however, lived well up to her reputation as being
+"<i>incontestablement la plus jolie femme de Paris</i>." By 1824 the fame of
+the establishment had begun to wane and in 1826 it expired, though the
+"<i>Almanach des Gourmands</i>" of the latter year said that the proprietor
+was the V&eacute;ry of <i>limonadiers</i>, that his ices were superb, his salons
+magnificent&mdash;and his prices exorbitant. Perhaps it was the latter that
+did it!</p>
+
+<p>Another establishment, founded in 1817, was domiciled here, the clients
+being served by "<i>oda<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span>lisques en costume oriental, tr&egrave;s seduisantes</i>."
+This is quoted from the advertisements of the day. The caf&eacute; was called
+the Caf&eacute; des Circassiennes, and there was a <i>sultane</i>, who was the
+presiding genius of the place. It met with but an indifferent success
+and soon closed its doors despite its supposedly all-compelling
+attractions.</p>
+
+<p>In the mid-nineteenth century a revolution came over the caf&eacute;s of Paris.
+Tobacco had invaded their precincts; previously one smoked only in the
+<i>estaminets</i>. Three caf&eacute;s of the Palais Royal resisted the innovation,
+the Caf&eacute; de la Galerie d'Orleans, the Caf&eacute; de Foy and the Caf&eacute; de la
+Rotonde. To-day, well, to-day things are different.</p>
+
+<p>The Theatre du Palais Royal of to-day was the Theatre des Marionettes of
+the Comte de Beaujolais, which had for contemporaries the Fantoches
+Italiens, the Ombres Chinoises and the Mus&eacute;e Curtius, perhaps the first
+of the wax-works shows that in later generations became so popular. The
+Palais Royal had now become a vast amusement enterprise, with side-shows
+of all sorts, theatres, concerts, caf&eacute;s, restaurants, clubs,
+gambling-houses and what not&mdash;all paying rents, and high ones, to the
+proprietor.</p>
+
+<p>In the centre of the garden, where is now the fountain and its basin,
+was a circus, half under<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span>ground and half above, and there were
+innumerable booths and kiosks for the sale of foolish trifles, all
+paying tribute to the ground landlord.</p>
+
+<p>Gaming at the Palais Royal was not wholly confined to the public
+gambling houses. During the carnival season of 1777 the gambling which
+went on in the royal apartments became notorious for even that
+profligate time: in one night the Duc de Chartres lost eight thousand
+<i>livres</i>. Louis XVI, honest man, took all due precautions to reduce this
+extravagance, but was impotent.</p>
+
+<p>Between the courtyard fountain and the northern arcade of the inner
+palace was placed the famous Cannon du Palais Royal, which, by an
+ingenious disposition, was fired each day at midday by the action of the
+sun's rays. All the world stood around awaiting the moment when watches
+might be regulated for another twenty-four hours.</p>
+
+<p>The celebrated Abb&eacute; Delille, to whom the beauties of the gardens were
+being shown, deplored the lack of good manners on the part of the
+habitu&eacute;s and delivered himself of the following appropriate quatrain:</p>
+
+<p>
+<span style="margin-left: 3em;">"Dans ce jardin tout se rencontr&eacute;e</span><br />
+<span style="margin-left: 3em;">Except&ecirc; l'ombrage et les fleurs;</span><br />
+<span style="margin-left: 3em;">Si l'on y d&ecirc;regle ses m&oelig;urs</span><br />
+<span style="margin-left: 3em;">Du moins on y r&egrave;gle sa montre."</span><br />
+</p>
+
+<p>The Galerie de Bois was perhaps the most<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> disreputable of all the palace
+confines. It was a long, double row of booths which only disappeared
+when Louis-Philippe built the glass-covered Galerie d'Orleans.</p>
+
+<p>Up to the eve of the Revolution the Palais Royal enjoyed the same
+privileges as the Temple and the Luxembourg, and became a sort of refuge
+whereby those who sought to escape from the police might lose themselves
+in the throng. The monarch himself was obliged to ask permission of the
+Duc d'Orleans that his officials might pursue their police methods
+within the outer walls.</p>
+
+<p>It was July 12, 1789. The evening before, Louis XVI had dismissed his
+minister, Neckar, but only on Sunday, the 12th, did the news get abroad.
+At the same time it was learned that the regiment known as the Royal
+Allemand, under the orders of the Prince de Lambesc, had charged the
+multitude gathered before the gates of the Tuileries. Cries of "A Mort!"
+"Aux Armes!" "Vengeance!" were hurled in air from all sides.</p>
+
+<p>At high noon in the gardens of the Palais Royal, on the 13th, as the
+midday sun was scorching the flagstones to a grilling temperature, the
+sound of a tiny cannon shot smote the still summer air with an echo
+which did not cease reverberating for months. The careless, unthinking
+promenaders suddenly grew grave, then violently<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span> agitated and finally
+raving, heedlessly mad. A young unknown limb of the law, Camille
+Desmoulins, rushed bareheaded and shrieking out of the Caf&eacute; de Foy,
+parted the crowd as a ship parts the waves, sprang upon a chair and
+harangued the multitude with such a vehemence and conviction that they
+were with him as one man.</p>
+
+<p>"Citizens," he said, "I come from Versailles * * * It only remains for
+us to choose our colours. <i>Quelle couleur voulez vous?</i> Green, the
+colour of hope; or the blue of Cincinnati, the colour of American
+liberty and democracy."</p>
+
+<p><i>"Nous avons assez d&eacute;liber&eacute;!</i> Deliberate further with our hands not our
+hearts! We are the party the most numerous: To arms!"</p>
+
+<p>On the morrow, the now famous 14th of July, the Frenchman's "glorious
+fourteenth," the people rose and the Bastille fell.</p>
+
+<p>Revolutionary decree, in 1793, converted the palace and its garden into
+the Palais et Jardin de la R&eacute;volution, and appropriated them as national
+property. Napoleon granted the palace to the Tribunal for its seat, and
+during the Hundred Days Lucien Bonaparte took up his residence there. In
+1830 Louis Philippe d'Orleans gave a great f&ecirc;te here in honour of the
+King of Naples who had come to the capital to pay his<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> respects to the
+French king. Charles X, assisting at the ceremony as an invited guest,
+was also present and a month later came again to actually inhabit the
+palace and make it royal once more.</p>
+
+
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus182.jpg" width="650" height="411" alt="" title="The Galleries of the Palais-Royal under Napoleon First." />
+</div>
+
+
+<p>The table herewith showing the ramifications of the Bourbon Orleans
+family in modern times is interesting&mdash;all collateral branches of the
+genealogical tree sprouting from that of Louis Philippe. The heraldic
+embellishments of this family tree offer a particular interest in that
+the armorial blazonings are in accord with a decree of the French
+Tribunal, handed down a few years since, which establishes the right to
+the head of the house to bear the <i>&eacute;cu plein de France&mdash;d'azur a trois
+fleurs de lys d'or</i>, thus establishing the Orleans legitimacy.</p>
+
+
+<p><span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus183.jpg" width="650" height="433" alt="" title="Family Tree" />
+<br /><span class="link"><a href="images/illus183full.jpg">View larger image</a></span>
+</div>
+
+<p>The Republic of 1848 made the palace the headquarters of the Cour des
+Comptes and of the &Eacute;tat Major of the National Guard. Under Napoleon III
+the Palais Royal became the dwelling of Prince Jerome, the uncle of the
+emperor. Later it served the same purpose for the son of Prince
+Napoleon. It was at this epoch that the desecration of scraping out the
+blazoned <i>lys</i> and the chipping off the graven Bourbon <i>armoiries</i> took
+place. Whenever one or the other hated Bourbon symbol was found, eagles,
+ph&oelig;nix-like, sprang up in their place, only in their turn to
+disappear when the Republican device of '48 (now brought to light
+again), <i>Libert&eacute;, Egalit&eacute;, Fraternit&eacute;</i>&mdash;replaced them.</p>
+
+<p>During the Commune of 1870 a part of the left wing and the central
+pavilion suffered by fire, but restorations under the architect,
+Chabrol, brought them back again to much their original outlines.
+Through all its changes of tenure and political vicissitudes little
+transformation took place as to the ground plan, or sky-line silhouette,
+of the chameleon palace of cardinal, king and emperor, and while in no
+sense is it architecturally imposing or luxurious, it is now, as ever in
+the past, one of the most distinctive of Paris's public monuments.</p>
+
+<p>To-day the Palais Royal proper may be said<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> to face on Place du Palais
+Royal, with its principal entrance at the end of a shallow courtyard
+separated from the street by an iron grille and flanked by two
+unimposing pavilions. The principal fa&ccedil;ade hides the lodging of the
+Conseil d'&Eacute;tat and is composed of but the ground floor, a story above
+and an attic.</p>
+
+<p>The Aile Montpensier, which follows on from the edifice which houses the
+Com&eacute;die Fran&ccedil;aise, was, until recently, occupied by the Cour des
+Comptes. The Aile de Valois fronts the street of that name, and here the
+Princes d'Orleans and King Jerome made their residence. To-day the same
+wing is devoted to the uses of the Under Secretary for the Beaux Arts.</p>
+
+<p>It is not necessary to insist on, nor reiterate, the decadence of the
+Palais Royal. It is no longer the "capitol of Paris," and whatever its
+charms may be they are mostly equivocal. It is more a desert than an
+oasis or a <i>temple de la volupt&eacute;</i>, and it was each of these things in
+other days. Its priestesses and its gambling houses are gone, and who
+shall say this of itself is not a good thing in spite of the admitted
+void.</p>
+
+<p>The mediocrity of the Palais Royal is apparent to all who have the
+slightest acquaintance with the architectural orders, but for all that
+its transition from the Palais du Cardinal, Palais Egalit&eacute;,<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span> Palais de
+la Revolution and Palais du Tribunat to the Palais Royal lends to it an
+interest that many more gloriously artistic Paris edifices quite lack.</p>
+
+<p>There is a movement on foot to-day to resurrect the Palais Royal to some
+approach to its former distinction, which is decidedly what it has not
+been for the past quarter of a century. Satirical persons have demanded
+as to what should be made of it, a <i>v&eacute;lodrome</i> or a skating-rink, but
+this is apart from a real consideration of the question for certain it
+is that much of its former charm can be restored to it without turning
+it into a Luna Park. It is one of the too few Paris breathing-spots, and
+as such should be made more attractive than it is at the present time.</p>
+
+<p>It was sixty years ago, when Louis Philippe was the legitimate owner of
+the Palais Royal, its galleries, its shops, its theatre and its gardens,
+that it came to its first debasement. "One went there on tip-toe, and
+spoke in a whisper," said a writer of the time, and one does not need to
+be particularly astute to see the significance of the remark.</p>
+
+<p>It was Alphonse Karr, the <i>&eacute;crivain-jardinier</i>, who set the new vogue
+for the Palais Royal, but his interest and enthusiasm was not enough to<span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span>
+resurrect it, and so in later years it has sunk lower and lower. The
+solitude of the Palais Royal has become a mockery and a solecism. It is
+virtually a <i>campo santo</i>, or could readily be made one, and this in
+spite of the fact that it occupies one of the busiest and noisiest
+quarters of the capital, a quadrangle bounded by the Rues Valois,
+Beaujolais, Montpensier and the Place du Palais Royal.</p>
+
+<p>The moment one enters its portal the simile accentuates and the hybrid
+shops which sell such equivocal bric-a-brac to clients of no taste and
+worse affectations carry out the idea of a cloister still further, for
+actually the clients are few, and those mostly strangers. One holds his
+breath and ambles through the corridors glad enough to escape the bustle
+of the narrow streets which surround it, but, on the other hand, glad
+enough to get out into the open again.<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h2>
+
+<h3>THE LUXEMBOURG, THE ELYS&Eacute;E AND THE PALAIS BOURBON</h3>
+
+
+<p>The kings and queens of France were not only rulers of the nation, but
+they dominated the life of the capital as well. Upon their crowning or
+entry into Paris it was the custom to command a gift by right from the
+inhabitants. In 1389 Isabeau de Bavi&egrave;re, of dire memory, got sixty
+thousand <i>couronnes d'or</i>, and in 1501, and again in 1504, was presented
+with six thousand and ten thousand <i>livres parisis</i> respectively.</p>
+
+<p>The king levied personal taxes on the inhabitants, who were thus forced
+to pay for the privilege of having him live among them, those of the
+professions and craftsmen, who might from time to time serve the royal
+household, paying the highest fees.</p>
+
+<p>It was during the period of Richelieu's ministry that Paris flowered the
+most profusely. The constructions of this epoch were so numerous and
+imposing that Corneille in his comedy "Le Menteur," first produced in
+1642, made his characters speak thus:<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span></p>
+
+<p>
+<span style="margin-left: 3em;">Dorante: Paris semble &agrave; mes yeux un pays de roman</span><br />
+<span style="margin-left: 3em;"><i>* &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *</i></span><br />
+<span style="margin-left: 3em;">En superbes palais a chang&eacute; ses buissons</span><br />
+<span style="margin-left: 3em;"><i>* &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *</i></span><br />
+<span style="margin-left: 3em;">Aux superbes dehors du palais Cardinal</span><br />
+<span style="margin-left: 3em;">Tout la ville enti&egrave;re, avec pomp b&acirc;tie</span><br />
+<span style="margin-left: 3em;"><i>* &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *</i></span><br />
+</p>
+
+<p>In 1701, Louis XIV divided the capital into twenty <i>quartiers</i>, or
+wards, and in 1726-1728 Louis XV built a new city wall; but it was only
+with Louis XVI that the faubourgs were at last brought within the city
+limits. Under the Empire and the Restoration but few changes were made,
+and with the piercing of the new boulevards under Napoleon III and Baron
+Haussmann the city came to be of much the same general plan that it is
+to-day.</p>
+
+<p>In the olden time, between the Palais de la Cit&eacute; and the Louvre and the
+Palais des Tournelles, extending even to the walls of Charenton, was a
+gigantic garden, a carpet embroidered with as varied a colouring as the
+<i>tapis d'orient</i> of the poets, and cut here and there by alleys which
+separated it into little checker-board squares.</p>
+
+<p>Within this maze was the celebrated Jardin Dedalus that Louis XI gave to
+Coictier, and above it rose the observatory of the savant like a signal
+tower of the Romans. This centered upon what is now the Place des
+Vosges, formerly the Place Royale.<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span></p>
+
+<p>To-day, how changed is all this "intermediate, indeterminate" region!
+How changed, indeed! There is nothing vague and indeterminate about it
+to-day.</p>
+
+<p>The earliest of the little known Paris palaces was the Palais des
+Thermes. It may be dismissed almost in a word from any consideration of
+the royal dwellings of Paris, though it was the residence of several
+Roman emperors and two queens of France. A single apartment of the old
+palace of the Romans exists to-day&mdash;the old Roman Baths&mdash;but nothing of
+the days of the Emperor Constantius Chlorus, who founded the palace in
+honour of Julian who was proclaimed Emperor by his soldiers in 360 A.D.
+The Frankish monarchs, if they ever resided here at all, soon
+transferred their headquarters to the Palais de la Cit&eacute;, the ruins
+falling into the possession of the monks of Cluny, who built the present
+Hotel de Cluny on the site.</p>
+
+<p>Of all the minor French palaces the Luxembourg and the Elys&eacute;e are the
+most often heard of in connection with the life of modern times. The
+first is something a good deal more than an art museum, and the latter
+more than the residence for the Republican president, though the
+guide-book makers hardly think it worth while to write down the facts.<span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus193.jpg" width="600" height="413" alt="Palais du Luxembourg" title="" />
+<span class="caption"><i>Palais du Luxembourg</i></span>
+</div>
+
+<p>The Palais du Luxembourg has been called an imitation of the Pitti
+Palace at Florence, but, beyond the fact that it was an Italian
+conception of Marie de M&eacute;dici's, it is difficult to follow the
+suggestion, as the architect, Jacques Debrosse, one of the ablest of
+Frenchmen in his line, simply carried out the work on the general plan
+of the time of its building, the early seventeenth century.</p>
+
+<p>Its three not very extensive pavilions are joined together by a
+colonnade which encloses a rather foreboding flagged courtyard, a
+conception, or elaboration, of the original edifice by Chalgrin, in
+1804, under the orders of Napoleon. The garden front, though a
+restoration of Louis Philippe, is more in keeping with the original
+M&eacute;dici plan; that, at any rate, is to its credit.</p>
+
+<p>To-day the Luxembourg, the Republican Palais du S&eacute;nat, is but an echo of
+the four centuries of aristocratic existence which upheld the name and
+fame of its first proprietor, the Duc de Piney-Luxembourg, Prince de
+Tigry, who built it in the sixteenth century. From 1733 to 1736 the
+palace underwent important restorations and the last persons to inhabit
+it before the Revolution were the Duchesse de Brunswick, the Queen
+Dowager of Spain and the Comte de Provence, brother of Louis XVI, to
+whom it had been given by Letters Patent in 1779.</p>
+
+
+<p><span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span></p>
+
+<p>In 1791 the Convention thought so little of it that they made it a
+prison, and a few years later it was called again the Palais du
+Directoire, and, before the end of the century, the Palais du Consulat.
+This was but a brief glory, as Napoleon transferred his residence in
+accordance with his augmenting ambitions, to the Tuileries in the
+following year.</p>
+
+<div class="figcenter" style="width: 479px;">
+<img src="images/illus196.jpg" width="479" height="600" alt="" title="Door of the Throne Room" />
+</div>
+
+<p>By 1870 the edifice had become known as the Palais du S&eacute;nat, then as the
+headquarters of the Pr&eacute;fecture of the Seine, and finally, as to-day, the
+Palais du Luxembourg, the seat of the French Senate and the residence of
+the president of that body.</p>
+
+<p>The principal public apartments are the Library, the "Salle des
+S&eacute;ances," the "Buvette"&mdash;formerly Napoleon's "Cabinet de Travail," the
+"Salle des Pas Perdus"&mdash;formerly the "Salle du Trone," the Grand Gallery
+and the apartments of Marie de M&eacute;dici. The chapel is modern and dates
+only from 1844.</p>
+
+<p>The Palais du Petit Luxembourg is the official residence of the
+president of the Senate and dates also from the time of Marie de M&eacute;dici.
+The picture gallery is housed in a modern structure to the west of the
+Petit Luxembourg.</p>
+
+
+<p>The fa&ccedil;ade of the Palais du S&eacute;nat is not altogether lovely and has
+little suggestion of the<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> daintiness of the Petit Luxembourg, but,
+for all that, it presents a certain dignified pose and the edifice
+serves its purpose well as the legislative hall of the upper house.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus197.jpg" width="650" height="316" alt="The Petit Luxembourg" title="" />
+<span class="caption"><i>The Petit Luxembourg</i></span>
+</div>
+
+<p>The gardens of the Luxembourg form another of those favourite Paris
+playgrounds for nursemaids and their charges. It is claimed that the<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span>
+children are all little Legitimists in the Luxembourg gardens, whereas
+they are all Red Republicans at the Tuileries. One has no means of
+knowing this with certainty, but it is assumed; at any rate the
+Legitimists are a very numerous class in the neighbourhood. Another
+class of childhood to be seen here is that composed of the offsprings of
+artists and professors of the Latin quarter, and of the active tradesmen
+of the neighbourhood. They come here, like the others, for the fresh
+air, to see a bit of greenery, to hear the band play, to sail their
+boats in the basins of the great fountain and enjoy themselves
+generally.</p>
+
+<p>One notes a distinct difference in the dress and manners of the children
+of the gardens of the Luxembourg from those of the Tuileries and wonders
+if the breach will be widened further as they grow up.</p>
+
+<p>The Jardin du Luxembourg is all that a great city garden should be,
+ample, commodious,<span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span> decorative and as thoroughly typical of Paris as the
+Pont Neuf. Innumerable, but rather mediocre, statues are posed here and
+there between the palace and the observatory at the end of the long,
+tree-lined avenue which stretches off to the south, the only really
+historical monument of this nature being the celebrated Fontaine de
+M&eacute;dicis by Debrosse, the architect of the palace. It was a memorial to
+Marie de M&eacute;dici.</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus202.jpg" width="600" height="515" alt="The Luxembourg Gardens" title="" />
+<span class="caption"><i>The Luxembourg Gardens</i></span>
+</div>
+
+<p>While one is in this quarter of Paris he has an opportunity to recall a
+royal memory now somewhat dimmed by time, but still in evidence if one
+would delve deep.</p>
+
+<p>As a matter of fact, royalty never had much to do with this hybrid
+quarter of Paris, though, indeed, its past was romantic enough,
+bordering as it does upon the real Latin Quarter of the students.
+Bounded on one side by the immense domain of the Luxembourg, it
+stretched away indefinitely beyond Vaugiraud, almost to Clamart and
+Sceaux.</p>
+
+
+<p>At No. 27 Boulevard Montparnasse is an elaborate seventeenth house-front
+half hidden by the "modern style" flats of twentieth century Paris. This
+relic of the <i>grand si&egrave;cle</i>, with its profusion of sculptured details,
+was the house bought by Louis XIV about 1672 and given to the "widow
+Scarron," the "young and beauti<span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span>ful widow of the court," as a
+recompense for the devotion with which she had educated the three
+children of the Marquise de Montespan, who, in 1673, were legitimatized
+as princes of the royal house&mdash;the Duc de Maine, the Comte de Vexin and
+Mademoiselle de Mantes.</p>
+
+<p>Madame Scarron, who became in time Madame de Maintenon, the "<i>vraie
+reine du roi</i>," died in 1719, and the house passed to La Tour
+d'Auvergne.</p>
+
+<p>On this same side of the river are the Palais de l'Institut and the
+Palais Bourbon. The Palais de l'Institut, or Palais Mazarin, is hardly
+to be considered one of the domestic establishments, the dwellings of
+kings, with which contemporary Paris was graced. It was but a creation
+of Mazarin, the minister, on the site of the H&ocirc;tel de Nesle, and was
+first known as the Palais des Quatre Nations, where were educated, at
+the expense of the Cardinal, sixty young men of various nationalities.</p>
+
+<p>The old chapel has since been transformed into the "Salle des S&eacute;ances"
+of the Institut de France, the Five French Academies. The black, gloomy
+fa&ccedil;ade of the edifice, to-day, in spite of the cupola which gives a
+certain inspiring dignity, is not lovely, and tradition and sentiment
+alone give it its present interest, though it is undeniably
+picturesque.<span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span></p>
+
+<p>An inscription used to be on the pedestal of one of the fountains
+opposite the entrance which read:</p>
+
+<p>
+<span style="margin-left: 3em;">"Superbe habitant du desert</span><br />
+<span style="margin-left: 3em;">En ce lieu, dis moi, que fais tu</span><br />
+<span style="margin-left: 3em;">&mdash;Tu le vois &agrave; mon habit vert</span><br />
+<span style="margin-left: 3em;">Je suis membre de l'institut."</span><br />
+</p>
+
+<p>If the inscription were still there it would save the asking of a lot of
+silly questions by strangers who pass this way for the first time. The
+Palais de l'Institut is one of the sights of Paris, and its functions
+are notable, though hardly belonging to the romantic school of past
+days, for at present poets often make their entr&eacute;e via Montmartre's
+"Chat Noir," or are elected simply because some other candidate has been
+"<i>blackbouled</i>."</p>
+
+<p>Still following along the left bank of the Seine one comes to the Palais
+Bourbon, the Chambre des Deput&eacute;s, as it is better known. This edifice,
+where now sit the French deputies, was built by Girardini for the
+Dowager Duchesse de Bourbon in 1722, and, though much changed during
+various successive eras, is still a unique variety of architectural
+embellishment which is not uncouth, nor yet wholly appealing. Napoleon
+remade the heavily imposing fa&ccedil;ade, so familiar to all who cross the
+river by the Pont de la Concorde, but its grimness is its charm rather
+than its grace.<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span></p>
+
+
+<div class="figright" style="width: 418px;">
+<img src="images/illus205.jpg" width="418" height="500" alt="" title="The THRONE of the PALAIS-BOURBON" />
+</div>
+<p>The structure cost its first proprietor twenty million or more francs,
+and since it has become national property the outlay has been constant.
+Everything considered it makes a poor showing; but its pseudo-Greek
+fa&ccedil;ade, were it removed, would certainly be missed in this section of
+Paris.</p>
+
+<p>The principal apartments are the "Salle des Pas Perdus," the "Salle des
+S&eacute;ances," and the "Salle des Conferences"&mdash;where, in 1830, the Duc
+d'Orleans took the oath as king of France.</p>
+
+<p>A recent discovery has been made in the lumber room of this old Palais
+Bourbon, where deputies howl and shout and make laws as noisily as in
+any other of the world's parliaments.</p>
+
+
+<p>This particular "find" was the throne constructed in 1816 for Louis
+XVIII, with its upholstering of velvet embroidered with the golden
+fleur-de-lis. The records tell that this throne also served<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> Louis
+Philippe under the Second Empire, and also was used under the Monarchy
+of July. It was after the momentous "Quatre Setembre" that it was
+finally relegated to the garret, but now, as a historical souvenir of
+the first rank, it has been placed prominently where all who visit the
+Palais Bourbon may see it.</p>
+
+<p>The history of the Palais de l'Elys&eacute;e has not been particularly vivid,
+though for two centuries it has played a most important part in the life
+of the capital. In later years it has served well enough the
+presidential dignity of the chief magistrate of the French Republic and
+is thus classed as a national property. Actually, since its
+construction, it has changed its name as often as it has changed its
+occupants. Its first occupant was its builder, Louis d'Auvergne, Comte
+d'Evreux, who built himself this great town house on a plot of land
+which had been given him by Louis XV. Apparently the young man had no
+means of his own for the construction of his luxurious city dwelling,
+for he refilled his coffers by marriage with the rich daughter of the
+financier Crozat.</p>
+
+<p>The new-made countess's mother-in-law apparently never had much respect
+for her son's choice as she forever referred to her as "the little gold
+ingot."<span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span></p>
+
+<p>"The ingot" served to construct the palace, however, though at the death
+of its builder, soon after, it came into the proprietorship of La
+Pompadour, who spent the sum of six hundred and fifty thousand <i>livres</i>
+in aggrandizing it. It became her town house, whither she removed when
+she grew tired of Versailles or Bagatelle.</p>
+
+<p>History tells of an incident in connection with a f&ecirc;te given at the
+Palais de l'Elys&eacute;e by La Pompadour. It was at the epoch of the
+"<i>bergeries &agrave; la Watteau</i>." The blond Pompadour had the idea of
+introducing into the salons a troop of living, sad-eyed sheep, combed
+and curled like the poodles in the carriages of the fashionables in the
+Bois to-day. The quadrupeds, greatly frightened by the flood of light,
+fell into a panic, and the largest ram among them, seeing his duplicate
+in a mirror, made for it in the traditional ram-like manner. He raged
+for an hour or more from one apartment to another, followed by the whole
+flock, which committed incalculable damage before it could be turned
+into the gardens. Such was one of the costly caprices of La Pompadour.
+She had many.</p>
+
+<p>La Pompadour's brother, the Marquis de Menars et de Marigny, continued
+the work of embellishment of the property up to the day when Louis XV
+bought it as a dwelling for the<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> ambassadors to his court. Its somewhat
+restricted park, ornamented with a grotto and a cascade, was at this
+time one of the curiosities of the capital.</p>
+
+<p>In 1773, the financier Beaujon bought the property from the king and
+added considerably to it under the direction of the architect Boull&eacute;e,
+who also re-designed the gardens. Thanks to Beaujon, the wonderful
+Gobelins of to-day were hung upon the walls, and many paintings by
+Rubens, Poissin, Van Loo, Von Ostade, Murillo, Paul Potter and Joseph
+Vernet were added.</p>
+
+<p>The death of the financier brought the property into the hands of the
+Duchesse de Bourbon, the sister of Louis Philippe, and the mother of the
+Duc d' Enghien, who died so tragically at Vincennes a short time after.
+The duchess renamed her new possession Elys&eacute;e-Bourbon and there led a
+very retired and sad life among surroundings so splendid that they
+merited a more gay existence.</p>
+
+<p>At the Revolution the palace became a national property, and, under the
+Consulate, was the scene of many popular f&ecirc;tes, it having been rented to
+a concern which arranged balls and other entertainments for the pleasure
+of all who could afford to pay. Its name was now the Hameau de
+Chantilly, and, considering that the entrance<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> tickets cost but fifteen
+sous&mdash;including a drink&mdash;it must have proved a cheap, satisfying and
+splendid amusement for the people.</p>
+
+<p>This state of affairs lasted until 1805, when Murat bought it and here
+held his little court up to his departure for Naples, when, in
+gratefulness for past favours, he gave it to Napoleon. The emperor
+greatly loved this new abode, which he rechristened the Elys&eacute;e-Napoleon.</p>
+
+<p>After his defeat at Waterloo Napoleon, limping lamely Parisward, down
+through the Forests of Compi&egrave;gne and Villers-Cotterets, sought in the
+Elys&eacute;e-Napoleon the repose and rest which he so much needed, the throng
+meanwhile promenading before the palace windows, shouting at the tops of
+their voices "Vive l'Empereur!" though, as the world well knew, his
+power had waned forever; the eagle's wings were broken. The throng still
+crowded the precincts of the palace, but the emperor fled secretly by
+the garden gate.</p>
+
+<p>On the return of the Duchesse de Bourbon from Spain the magnificent
+structure became again the Elys&eacute;e-Bourbon. The duchess ceded the palace
+to the Duc and Duchesse de Berry but, at the duke's death, in 1820, his
+widow abandoned it.</p>
+
+<p>Some time after it was occupied by the Duc<span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span> de Bordeaux, and, in 1830,
+it became one of the long list of establishments whose maintenance
+devolved upon the Civil List, though it remained practically uninhabited
+all through the reign of Louis Philippe.</p>
+
+<p>In 1848, the National Assembly designated the palace as the official
+residence for the presidents of the French Republic. Three years after,
+on the night of the first of December, as the last preparations were
+being made by Louis Bonaparte for the Coup d' &Eacute;tat and the final
+strangling of the young republic, the residence of the president was
+transferred to the Tuileries, and the palace of the Faubourg Saint
+Honor&eacute; was again left without a tenant, and served only to give
+hospitality from time to time to passing notables.</p>
+
+<p>After the burning of the Tuileries, and the coming of the Third
+Republic, the Elys&eacute;e Palace again became the presidential residence, and
+so it remains to-day.</p>
+
+<p>One of the most notable of modern events connected with the Elys&eacute;e
+Palace was the <i>diner de ceremonie</i> offered by the president of the
+Republic and Madame Falli&egrave;res to Mr. and Mrs. Roosevelt in April, 1910.
+The dinner was served in the "Grand Salle des F&ecirc;tes" and the music which
+accompanied the repast was furnished<span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span> by the band of the <i>Garde
+Republicain</i>, beginning with the national anthem of America and
+finishing with that of France. Never had a private citizen, a foreigner,
+been so received by the first magistrate of France. The toast of
+President Falli&egrave;res was as follows: "Before this repast terminates I
+wish to profit by the occasion offered to drink the health of Monsieur
+Theodore Roosevelt, an illustrious man, a great citizen and a good
+friend of France and the cause of peace. I raise my glass to Madame
+Roosevelt who may be assured of our respectful and sympathetic homage,
+and I am very glad to be able to say to our guests that we count
+ourselves very fortunate in being allowed to meet them in person and
+show them this mark of respect."<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X</h2>
+
+<h3>VINCENNES AND CONFLANS</h3>
+
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus212.jpg" width="650" height="260" alt="" title="VINCENNES UNDER CHARLES V" />
+</div>
+
+<p>Vincennes is to-day little more than a dull, dirty Paris suburb; if
+anything its complexion is a deeper drab than that of Saint Denis, and
+to call the Bois de Vincennes a park "somewhat resembling the Bois de
+Boulogne," as do the guidebooks, is ridiculous.</p>
+
+<p>In reality Vincennes is nothing at all except a memory. There is to-day
+little suggestion of royal origin about the smug and murky surroundings
+of the Chateau de Vincennes; but nevertheless, it once was a royal
+residence, and the drama which unrolled itself within its walls was most
+vividly presented. A book might be written upon it, with the following
+as the chapter headings: "The Royal Residence," "The Minimes of<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span> the
+Bois de Vincennes," "Mazarin at Vincennes," "The Prisoners of the
+Donjon," "The F&ecirc;tes of the Revolution," "The Death of the Duc
+d'Enghien," "The Transformation of the Chateau and the Bois."</p>
+
+<p>Its plots are ready-made, but one has to take them on hearsay, for the
+old chateau does not open its doors readily to the stranger for the
+reason that it to-day ranks only as a military fortress, and an
+artillery camp is laid out in the quadrangle, intended, if need be, to
+aid in the defence of Paris. This is one of the things one hears about,
+but of which one may not have any personal knowledge.</p>
+
+<p>The first reference to the name of Vincennes is in a ninth century
+charter, where it appears as <i>Vilcenna</i>. The foundation of the original
+chateau-fort on the present site is attributed to Louis VII, who, in
+1164, having alienated a part of the neighbouring forest in favour of a
+body of monks, built himself a suburban rest-house under shelter of the
+pious walls of their convent.</p>
+
+<p>Philippe Auguste, too, has been credited with being the founder of
+Vincennes; but, at all events, the chateau took on no royal importance
+until the reign of Saint Louis, who acquired the habit of dispensing
+justice to all comers seated beneath an oak in the near-by Forest of
+Joinville.<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span></p>
+
+<p>The erection of the later chateau was begun by Charles, Comte de Valois,
+brother of Philippe-le-Bel; and it was completed by Philippe VI of
+Valois, and his successor, Jean-le-Bon, between the years 1337 and 1370,
+when it became an entirely new manner of edifice from what it had been
+before. It was in this chateau that was born Charles V, to whom indeed
+it owes its completion in the form best known.</p>
+
+<p>To-day, the outlines of the mass of the Chateau de Vincennes are
+considerably abbreviated from their former state. Originally it was
+quite regular in outline, its walls forming a rectangle flanked by nine
+towers, the great donjon which one sees to-day occupying the centre of
+one side. The chapel was begun in the reign of Fran&ccedil;ois I and terminated
+in that of Henri II. Its coloured glass, painted by Jean Cousin from the
+designs of Raphael, is notable.</p>
+
+<p>The chapel at Vincennes, with the Saint Chapelle of the Palais de
+Justice at Paris, ranks as one of the most exquisite examples extant of
+French Gothic architecture. It was begun in 1379, but chiefly it is of
+the sixteenth century, since it was only completed in 1552. This chapel
+of the sixteenth century, and the two side wings flanking the tower of
+the reign of Louis XIV, make the Chateau de Vincennes a most precious<span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span>
+specimen of medi&aelig;val ecclesiastical and military architecture. If
+Napoleon had not cut down the height of the surrounding walls the
+comparison would be still more favourable. In the reproduction of the
+miniature from the Book of Hours of the Duc de Berry given herein one
+sees the perfect outlines of the fourteenth century edifice.</p>
+
+<p>In later years, Louis XIII added considerably to the existing structure,
+but little is now to be seen of that edifice save the great tower and
+the chapel.</p>
+
+<p>Charles IX, whose royal edict brought forth the bloody night of Saint
+Bartholomew in 1572, fell sick two years later in the Chateau de
+Vincennes. Calling his surgeon, Ambroise Par&eacute;, to his side he exclaimed:
+"My body burns with fever; I see the mangled Huguenots all about me;
+Holy Virgin, how they mock me; I wish, Par&eacute;, I had spared them." And
+thus he died, abhorring the mother who had counselled him to commit this
+horrible deed.</p>
+
+<p>The donjon of Vincennes was carried to its comparatively great height
+that it might serve as a tower of observation as well as a place of last
+retreat if in an attack the outer walls of the fortress should give way.
+Here at Vincennes a certain massiveness is noted in connection with the
+donjon, though the actual ground area which it<span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span> covers is not very
+great; it was not like many donjons of the time, which were virtually
+smaller chateaux or fortresses enclosed within a greater.</p>
+
+
+<div class="figcenter" style="width: 363px;">
+<img src="images/illus217.jpg" width="363" height="600" alt="Chateau de Vincennes" title="" />
+<span class="caption"><i>Chateau de Vincennes</i></span>
+</div>
+
+<p>Vincennes, in comparison with many other contemporary edifices,
+possessed a certain regularity of outline which was made possible by its
+favourable situation. When others were of fantastic form, they were
+usually so built because of the configuration of the land, or the nature
+of the soil. But here the land was flat, and, though the edifice and its
+dependencies covered no very extended area, they followed rectangular
+lines with absolute precision.</p>
+
+<p>As its walls were of a thickness of three metres, it was a work easy of
+accomplishment for Louis XI to turn the chateau into a Prison of State,
+a use to which the first chateau had actually been put by the shutting
+up in it of Enguerrand de Marigny. Henri IV, in 1574, passed some
+solitary hours and days within its walls, and Mirabeau did the same in
+1777. The Duc d'Enghien, under the First Empire, before his actual death
+by shooting, suffered sorely herein, while resting under an unjust
+suspicion.</p>
+
+
+<p>In 1814-1815 the chateau became a great arsenal and general storehouse
+for the army. It was attacked by the Allies and besieged twice, but in
+vain. It was defended against the armies of<span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span> Blucher by the Baron
+Daumesnil. Summoned to surrender his charge, "Jambe de Bois" (so called
+because he had lost a leg the year before) replied: "I will surrender
+when you surrender to me my leg." A statue to this brave warrior is
+within the chateau, and commemorates further the fact that he
+capitulated only on terms laid down by himself out of his humane regard
+for the lives of friends and foes.</p>
+
+<p>The ministers of Charles X, in 1830, had cause to regret the strength of
+the chateau walls; and Barb&eacute;s, Blanqui and Raspail, in 1848, and various
+Republicans, who had been seized as dangerous elements of society after
+the Coup d'&Eacute;tat of 1851, also here found an enforced hospitality. The
+Chateau de Vincennes had become a second Bastille.</p>
+
+<p>The incident of the arrest and death of the Duc d'Enghien is one of the
+most dramatic in Napoleonic history. The scene was Vincennes. Louis
+Antoine Henri de Bourbon, son of the Prince de Cond&eacute;, born at Chantilly
+in 1772, became, without just reason, suspected in connection with the
+Cadoudal-Pichegreu plot, and was seized by a squadron of cavalry at the
+Schloss Ettenheim in the Duchy of Baden and conducted to Vincennes.
+Here, after a summary judgment, he was shot at night in the moat behind
+the guardhouse. The<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span> obscurity of the night was so great that a lighted
+lantern was hung around the neck of the unfortunate man that the
+soldiers might the better see the mark at which they were to shoot.</p>
+
+
+<div class="figcenter" style="width: 387px;">
+<img src="images/illus221.jpg" width="387" height="650" alt="A Hunt under the Walls of Vincennes" title="" />
+<span class="caption"><i>A Hunt under the Walls of Vincennes</i><br />
+<i>From a Fourteenth Century Print</i></span>
+</div>
+
+<p>Napoleon confided to Josephine, who repeated the secret to Madame de
+Remusat, that his political future demanded a <i>coup d'&Eacute;tat</i>. On the
+morning of the execution, the emperor, awakening at five o'clock, said
+to Josephine: "By this time the Duc d'Enghien has passed from this
+life."</p>
+
+<p>The rest is history&mdash;of that apologetic kind which is not often
+recorded.</p>
+
+<p>In the chapel at Vincennes a commemorative tablet was placed, by the
+orders of Louis XVIII, in 1816, to mark the death of the young duke.</p>
+
+<p>The Bois de Vincennes is not the fashionable parade ground of the Bois
+de Boulogne. On the whole it is a sad sort of a public park, and not at
+all fashionable, and not particularly attractive, though of a vast
+extent and possessed of a profoundly historic past of far more
+significance than that of its sweet sister by the opposite gates of
+Paris.</p>
+
+
+<p>It contains ten hundred and sixty-nine hectares and was due originally
+to Louis XV, who sought to have a sylvan gateway to the city from the
+east. Under the Second Empire the park was considerably transformed, new
+roads and alleys<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> traced, and an effort made to have it equal more
+nearly the beauty of the more popular Bois de Boulogne. It occupies the
+plateau lying between the Seine and the bend in the Marne, just above
+the junction of the two rivers.</p>
+
+<p>There are some forty kilometres of roadway within the limits of the Bois
+de Vincennes, and a dozen kilometres or more of footpaths; but, since
+the military authorities have taken a portion for their own uses as a
+training ground, a shooting range and for the Batteries of La
+Faisanderie and Gravelle, it has been bereft of no small part of its
+former charm. There are three lakes in the Bois, the Lac de Sainte
+Mand&eacute;, the Lac Daumesnil and the Lac de Gravelle.</p>
+
+<p>A near neighbour of Vincennes is Conflans, another poor, rent relic of
+monarchial majesty. The Chateau de Conflans was situated at the juncture
+of the Seine and Marne, but, to-day, the immediate neighbourhood is so
+very unlovely and depressing that one can hardly believe that it ever
+pleased any one's fancy, least of all that of a kingly castle builder.</p>
+
+<p>Banal dwellings on all sides are Conflans' chief characteristics to-day;
+but the old royal abode still lifts a long length of roof and wall to
+mark the spot where once stood the Chateau de Conflans in all its
+glory.<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span></p>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus224.jpg" width="600" height="349" alt="" title="CONFLANS from an OLD PRINT." />
+</div>
+<p>Conflans was at first the country residence of the Archbishops of Paris,
+and Saint Louis frequently went into retreat here. When Philippe-le-Bel
+acquired the property, he promptly gave it to the Comtesse d'Artois who
+made of it one of the "<i>plus beaux castels du temps</i>." She decorated its
+long gallery, the portion of the edifice which exists to-day in the
+humble, emasculated form of a warehouse of some sort, in memory of her
+husband Othon. Here the countess held many historic receptions and
+ceremonies during which kings and princes frequently partook of her
+hospitality.</p>
+
+
+<p>After the death of the countess, the French king made his residence at
+Conflans, and Charles VI, when dauphin, was also lodged here that he
+might be near the capital in case of events which<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> might require his
+presence. A contemporary account mentions the fact that his <i>valet de
+chambre</i> was killed by lightning at Conflans while serving his royal
+master.</p>
+
+<p>Conflans was the preferred suburban residence of the Princes and the
+Ducs de Bourgogne, and Philippe-le-Hardi there organized his tourneys
+and his <i>passes d'armes</i> with great &eacute;clat, on one occasion alone
+offering one hundred and fifteen thousand <i>livres</i> in prizes to the
+participants.</p>
+
+<p>This castle, for it was more castle than palace, was reputed one of the
+most magnificent in the neighbourhood of the Paris of its time,
+surrounded as it was with a resplendent garden and a forest in
+miniature, really a part of the Bois de Vincennes of to-day, where
+roamed wild boar and wolves which furnished sport of a kingly kind.</p>
+
+<p>The view from the terrace of the chateau must have been wonderfully
+fine, the towers and roof-tops of old Paris being silhouetted against
+the setting sun, its windows dominating the swift-flowing current of the
+two rivers at the foot of the fortress walls.</p>
+
+<p>The greatest event of history enacted under the walls of Conflans was
+the battle and the treaty which followed after, between Louis XI and the
+Comte de Charolais, in 1405.</p>
+
+<p>Commynes recounts the battle as follows: "Four<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span> thousand archers were
+sent out from Paris by the king, who fired upon the castle from the
+river bank on both sides."</p>
+
+<p>Bows and arrows were hardly effective weapons with which to shoot down
+castle walls, but stragglers who left themselves unprotected were from
+time to time picked off on both sides and much carnage actually ensued.
+Finally a treaty of peace was arranged, by which, at the death of
+Charles-le-T&eacute;m&eacute;raire, according to usage, Louis XI absorbed the
+proprietary rights in the castle and made it a <i>Maison Royale</i>,
+bestowing it upon one of his favourites, Dame Gillette Hennequin.</p>
+
+<p>The kings of France about this time developed a predilection for the
+chateaux on the banks of the Loire, and Conflans was offered for sale in
+1554. Divers personages occupied it from that time on, the Mar&eacute;chal de
+Villeroy, the Connetable de Montmorency and, for a brief time, Cardinal
+Richelieu.</p>
+
+<p>It was in the Chateau de Conflans that was planned the foundation of the
+French Academy; here Moli&egrave;re and his players first presented "La
+Critique de l'Ecole des Femmes"; and here, also, was held the marriage
+of La Grande Mademoiselle with the unhappy Lauzan.</p>
+
+<p>At the end of the reign of Louis XIV Fr. de Harlay-Chauvallon,
+Archbishop of Paris, bought<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> the property of Richelieu, and, with the
+aid of Mansart and Le Notre, considerably embellished it within and
+without. Madame de S&eacute;vign&eacute;, in one of her many published letters, writes
+of the splendours which she saw at Conflans at this epoch.</p>
+
+<p>Saint-Simon, the court chronicler, mentions that the gardens were so
+immaculately kept that when the Archbishop and "La Belle" Duchesse de
+Lesdigui&egrave;res used to promenade therein they were followed by a gardener
+who, with a rake, sought to remove the traces of each footprint as soon
+as made.</p>
+
+<p>Later, the Cardinal de Beaumont, the persecutor of the Jansenists,
+resided here.</p>
+
+<p>
+<span style="margin-left: 3em;">"Notre archeveque est &agrave; Conflans</span><br />
+<span style="margin-left: 5em;">C'est un grand solitaire</span><br />
+<span style="margin-left: 6em;">C'est un grand so</span><br />
+<span style="margin-left: 6em;">C'est un grand so</span><br />
+<span style="margin-left: 5em;">C'est un grand solitaire."</span><br />
+</p>
+
+<p>The above verse is certainly banal enough, but the cardinal himself was
+a <i>dr&ocirc;le</i>, so perhaps it is appropriate. At any rate it is contemporary
+with the churchman's sojourn at Conflans.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span></p>
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI</h2>
+
+<h3>FONTAINEBLEAU AND ITS FOREST</h3>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus228.jpg" width="650" height="384" alt="" title="ORIGINAL PLAN OF FONTAINEBLEAU" />
+</div>
+
+
+
+<p>Of all the French royal palaces Fontainebleau is certainly the most
+interesting, despite the popularity and accessibility of Versailles. It
+is moreover the cradle of the French Renaissance. Napoleon called it the
+Maison des Si&egrave;cles, and the simile was just.</p>
+
+
+<p>After Versailles, Fontainebleau has ever held the first place among the
+suburban royal palaces. The celebrated "Route de Fontainebleau" of
+history was as much a <i>Chemin du Roi</i> as that which led from the capital
+to Versailles. Ver<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span>sailles was gorgeous, even splendid, if you will;
+but it had not the unique characteristics, nor winsomeness of
+Fontainebleau, nor ever will have, in the minds of those who know and
+love the France of monarchial days.</p>
+
+<div class="figcenter" style="width: 407px;">
+<img src="images/illus229tb.jpg" width="407" height="650" alt="" title="From Paris to Fontainebleau" />
+<br /><span class="link"><a href="images/illus229.jpg">View larger image</a></span>
+</div>
+
+<p>Not the least of the charm of Fontainebleau is the neighbouring forest
+so close at hand, a few garden railings, not more, separating the palace
+from one of the wildest forest tracts of modern France.</p>
+
+<p>The Forest of Fontainebleau is full of memories of royal rendezvous, the
+carnage of wild beasts, the "<i>vraie image de la guerre</i>," of which the
+Renaissance kings were so inordinately fond.</p>
+
+<p>It was from the Palace of Fontainebleau, too, that bloomed forth the
+best and most wholesome of the French Renaissance architecture. It was
+the model of all other later residences of its kind. It took the best
+that Italy had to offer and developed something so very French that even
+the Italian workmen, under the orders of Fran&ccedil;ois I, all but lost their
+nationality. Vasari said of it that it "rivalled the best work to be
+found in the Rome of its time."</p>
+
+<p>A charter of Louis-le-Jeune (Louis VII), dated at Fontainebleau in 1169,
+attests that the spot was already occupied by a <i>maison royale</i> which,
+according to the Latin name given in the docu<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span>ment was called Fontene
+Bleaudi, an etymology not difficult to trace when what we know of its
+earlier and later history is considered.</p>
+
+<p>Actually this <i>fontaine belle eau</i> is found to-day in the centre of the
+Jardin Anglais, its basin and outlet being surrounded by the
+conventional stone rim or border. After its discovery, according to
+legend, this fountain became the rendezvous of the gallants and the
+poets and painters and the "sweet ladies" so often referred to in the
+chronicles of the Renaissance. Rosso, the painter, perpetuated one of
+the most celebrated of these reunions in his decorations in the Galerie
+Fran&ccedil;ois I in the palace, and Cellini represented the fair huntress
+Diana, amid the same surroundings.</p>
+
+<p>Under Louis-le-Jeune in 1169 was erected, in the Cour du Donjon, the
+chapel Saint-Saturnin, which was consecrated by Saint Thomas &agrave; Becket,
+then a refugee in France.</p>
+
+<p>Philippe Auguste and Saint Louis inhabited the palace and
+Philippe-le-Bel died here in 1314. From a letter of Charles VII it
+appears that Isabeau de Bavi&egrave;re had the intention of greatly adding to
+the existing chateau because of the extreme healthfulness of the
+neighbourhood. The work was actually begun but seemingly not carried to
+any great length.<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span></p>
+
+<p>Such was the state of things when Fran&ccedil;ois I came into his own and,
+because of the supreme beauty of the site, became enamoured of it and
+began to erect an edifice which was to outrank all others of its class.
+The king and court made of Fontainebleau a second capital. It was a
+model residence of its kind, and gave the first great impetus to the
+Renaissance wave which rose so rapidly that it speedily engulfed all
+France.</p>
+
+<p>Aside from its palace and its forest, Fontainebleau early became a noble
+and a gracious town, thanks to the proximity of the royal dwelling. In
+spite of the mighty scenes enacted within its walls, the palace has ever
+posed as one of the most placid and tranquil places of royal residence
+in the kingdom.</p>
+
+<p>All this is true to-day, in spite of the coming of tourists in
+automobiles, and the recent establishment of a golf club with the usual
+appurtenances. Fontainebleau, the town, has a complexion quite its own.
+Its garrison and its little court of officialdom give it a character
+which even to-day marks it as one of the principal places where the
+stranger may observe the French dragoon, with <i>casque</i> and breastplate
+and boots and spurs, at quite his romantic best, though it is apparent
+to all that the cumbersome, if picturesque, uniform is an unwieldy
+fighting<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span> costume. There was talk long ago of suppressing the corps, but
+all Fontainebleau rose up in protest. As the popular <i>chanson</i> has it:
+"<i>Laissez les dragons a leur Maire</i>." This has become the battle cry and
+so they remain at Fontainebleau to-day, the envy of their fellows in the
+service, and the glory of the young misses of the boarding schools, who
+each Saturday are brought out in droves to see the sights.</p>
+
+<p>Many descriptions of Fontainebleau have been written, but the works of
+Poirson, Pfnor and Champollion-Fig&egrave;ac are generally followed by most
+makers of guidebooks, and, though useful, they have perpetuated many
+errors which were known to have been doubtful even before their day.</p>
+
+<p>The best account of Fontainebleau under Fran&ccedil;ois I is given in the
+manuscript memoir of Abb&eacute; Guilbert. Apparently an error crept into this
+admirable work, too, for it gives the date of the commencement of the
+constructions of Fran&ccedil;ois as 1514, whereas that monarch only ascended
+the throne in 1515. The date of the first works under this monarch was
+1528, according to a letter of the king himself, which began: "We, the
+court, intend to live in this palace and hunt the <i>'betes rousses et
+noirs qui sont dans la for&ecirc;t.'</i>"<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span></p>
+
+<p>An account of Fran&ccedil;ois I and his "young Italian friends" makes mention
+of the visit of the king, in company with the Duchesse d'&Eacute;tampes, to the
+studio of Serlio who was working desperately on the portico of the Cour
+Ovale. He found the artist producing a "melody of plastic beauty, garbed
+as a simple workman, his hair matted with pasty clay." He was standing
+on a scaffolding high above the ground when the monarch mounted the
+ladder. Up aloft Fran&ccedil;ois held a conference with his beloved workman
+and, descending, shouted back the words: "You understand, Ma&icirc;tre Serlio;
+let it be as you suggest." After the porticos, Serlio decorated the
+Galerie d'Ulysse which has since disappeared owing to the indifference
+of Louis XV and the imbecility of his friends; and always it was with
+Fran&ccedil;ois: "You understand, Ma&icirc;tre Serlio; it is as you wish." The
+<i>motif</i> may have been Italian, but the impetus for the work was given by
+the <i>esprit</i> of the French.</p>
+
+<p>The defeated monarch was not able to bring away from Padua any trophies
+of war; but he brought plans of chateaux, and gardens as well. He did
+more: he took the very artists and craftsmen who had produced many of
+the Italian masterpieces of the time.</p>
+
+<p>The tracing of the gardens at Fontainebleau,<span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span> practically as they exist
+to-day, was one of Fran&ccedil;ois I's greatest pleasures. In their midst, on
+the shores of the &Eacute;tang aux Carpes, was erected a tiny rest-house where
+the royal mistresses might come to repose and laugh at the jests of
+Triboulet.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus237.jpg" width="650" height="387" alt="Palais de Fontainebleau" title="" />
+<span class="caption"><i>Palais de Fontainebleau</i></span>
+</div>
+
+<p>The edifice of Fran&ccedil;ois I is of modest proportions and of perfect unity;
+but it is with difficulty that it presents its best appearance,
+overpowered as it is by the heavier masses of the time of Henri IV, and
+suffering as it does because of the eliminations of Louis XIV and Louis
+XV when they made their additions to the palace.</p>
+
+<p>Under the Convention, later on, Fontainebleau's palace again suffered.
+Under the Consulate it became a barracks and a prison, and finally, not
+less terrible, were the restorations of Napoleon and Louis Philippe. A
+castle may sometimes suffer less from a siege than from a restoration.</p>
+
+<p>From every point of view, however, Fontainebleau remains an
+architectural document of the most profound interest and value, and,
+from the tourists' point of view, it is the most appealing of all
+European palaces of this or any other age. The expert, the artist and
+the mere curiosity-seeker all unite in their admiration in spite of the
+fact that the fabric has been denuded of many of its original beauties.</p>
+
+
+<p><span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span></p>
+
+<p>First, this royal dwelling is of the most ample and effective
+proportions; second, it possesses a remarkable series of luxurious
+apartments; third, it still contains some of the finest examples of
+furniture and furnishings of Renaissance and Napoleonic times; and, in
+addition, there is also to be seen that admirable series of paintings
+which represent the School of Fontainebleau. With such an array of
+charms what does it matter if the unity of the Renaissance masterpiece
+of Fran&ccedil;ois I is qualified by later interpolations? General impression
+is the standard by which one judges the workmanship of a noble monument,
+and here it is good to an extraordinary degree.</p>
+
+<p>The palace of to-day sits at one end of the aristocratic little town of
+Fontainebleau. Beyond is the forest and opposite are many hotels which
+depend upon the palace as the source from which they draw their
+livelihood.</p>
+
+<p>The principal entrance to the palace opens out from the Place Solferino
+and gives access immediately to the Cour du Cheval Blanc of Chambiges,
+which, since that eventful day in Napoleonic history nearly a hundred
+years ago, has become better known as the Cour des Adieux. At the rear
+rises the famous horseshoe stair, certainly much better expressed in
+French as<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span> the <i>Escalier en Fer &agrave; Cheval</i>, from which the emperor took
+his farewell of his "Vieux Grognards" lined up before him, biting
+savagely at their moustaches to keep down their emotions.</p>
+
+<p>This Cour du Cheval Blanc acquired its name from a plaster cast of
+Marcus Aurelius's celebrated steed which was originally placed here
+under a canopy or baldaquin held aloft by colonnettes. The moulds for
+this work were brought from Venice by Primaticcio and Vignole, but it
+was never cast in bronze and the statue itself disappeared in 1626. The
+courtyard, however, still kept the name until the last of Napoleonic
+days.</p>
+
+<p>As a Napoleonic memory this Cour des Adieux shares popularity with the
+famous Cabinet of the Empire suite of apartments where Napoleon signed
+his abdication. Certainly most visitors will carry away the memory of
+these words as among the most vivid souvenirs of Fontainebleau.</p>
+
+<div class="blockquot"><p>"<i>Le 5 Avril, 1814, Napoleon Bonaparte signa son abdication sur
+cette table dans le cabinet de travail du Roi, le deuxieme apr&egrave;s la
+chambre &agrave; coucher &agrave; Fontainebleau.</i>"</p></div>
+
+<p>The abdication itself (the document) is now exposed in the Galerie de
+Diane, transformed lately into the Library.<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span></p>
+
+<p>On the right is the Aile Neuf, built by Louis XV, for the housing of his
+officers, on the site of the Galerie de Ulysse, originally one of the
+most notable features of the palace of Fran&ccedil;ois I. Opposite is the sober
+alignment of the Aile des Ministres, and still farther to the rear are
+the Pavillon des Aumoniers, or de l'Horloge; the Chapelle de la Trinit&eacute;;
+the Pavillon des Armes; the Pavillon des Peintres; the Pavillon des
+Po&euml;ls; the Galerie des Fresques; and, finally, the Pavillon des
+Reines-Meres. All of these details are of the period of Fran&ccedil;ois I save
+the last, which was an interpolation of Louis XIV.</p>
+
+<p>The Fer &agrave; Cheval stairway, however, most curious because of the
+difficulties of its construction, dates from the time of Louis XIII, and
+replaces the stairs built by Philibert Delorme. The tennis court, just
+before the Pavillon de l'Horloge, dates only from Louis XV.</p>
+
+<p>The imposing entrance court is a hundred and twelve metres in width by a
+hundred and fifty-two metres in length, and to see it as it was
+originally, before the destruction of the Galerie d'Ulysse, one must
+imagine it as closed in by a series of small pavilions with their
+frontons of colonnettes preceded only by a staircase and two drawbridges
+crossing the moat, which at that time surrounded the entire confines of
+the<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span> palace. The moat is to-day surrounded, where it still exists, by a
+balustrade, due to the rather shabby taste of Louis XV.</p>
+
+<div class="figcenter" style="width: 398px;">
+<img src="images/illus243.jpg" width="398" height="600" alt="Salle du Throne, Fontainebleau" title="" />
+<span class="caption"><i>Salle du Throne, Fontainebleau</i></span>
+</div>
+<p>An inner courtyard, known as the Cour de la Fontaine, is incomparably of
+finer general design than the entrance court, and the Cour Ovale,
+absolutely as Henri IV left it, is finer still. At the foot of this
+latter court is the Baptistry where were baptised, in 1606, the three
+"Enfants de France," the dauphin, afterwards Louis XIII; the Princesse
+Elizabeth, afterwards the Queen of Spain; and the Princesse de Savoie.</p>
+
+<p>The Cour Ovale is practically of the proportions of the ancient Manor of
+Fontaine Belle Eau, built by Robert le Pieux. There, too, Philippe
+Auguste, Saint Louis, Philippe-le-Bel, Charles V and Charles VII
+frequently resided. Fran&ccedil;ois I had no wish that this old manor should
+entirely disappear and preserved its old donjon, a relic which has since
+gone the way of many another noble fane. There are several other notable
+courts or gardens, the Cour des Offices, the Jardin de Diane, the
+Orangerie, the Cour des Princes, etc.</p>
+
+<p>All the original gardens were laid out anew by Louis XIV, and that of
+Diane underwent a considerable change at the hands of Napoleon, who also
+laid out a Jardin Anglais on the site<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span> of the ancient Jardin des Pins,
+where originally sprang into being the rippling Fontaine Beleau, or
+Belle Eau, which gave its name to the palace, the forest and the town.</p>
+
+
+<p>The park, as distinct from the great expanse of surrounding forest, is a
+finely shaded range of alleys, due chiefly to Henri IV, who cut the
+great canal of ornamental water and ordained the general arrangement of
+its details.</p>
+
+<p>The principal curiosity of the park is the famous Treille du Roy, or the
+King's Grape Vine, which, good seasons and bad, can be counted on to
+give three thousand kilos of authentic <i>chasselas</i>, grapes of the finest
+quality. One wonders who gets them: <i>Ou s'en vont les raisins du roi?</i>
+This is an interrogation that has been raised more than once in the
+French parliament.</p>
+
+<p>In general, the aspect of the exterior of the Palais de Fontainebleau,
+the walls themselves, the Cours, the alleyed walks are chiefly
+reminiscent of the early art of the Renaissance. Fran&ccedil;ois I is, after
+all, more in evidence than the Henris or the Napoleons. Within, the same
+is true in general, though to a less degree. The Renaissance is
+<i>maitresse</i> within and without; the other moods are wholly subservient
+to her grace.</p>
+
+<p>There is hardly an apartment in all the world<span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span> of palaces in France, or
+beyond the frontiers, to rank with the great Galerie Fran&ccedil;ois I at
+Fontainebleau, though indeed its proportions are modest and its lighting
+defective to-day, for Louis XV blocked up all the windows on one side.
+It remains, however, one of the richest examples of the Franco-Italian
+decoration of its era, though somewhat tarnished by the heedlessness of
+Charles X.</p>
+
+<div class="figcenter" style="width: 437px;">
+<img src="images/illus247tb.jpg" width="437" height="650" alt="" title="Cypher of Henry II" />
+<br /><span class="link"><a href="images/illus247.jpg">View larger image</a></span>
+</div>
+
+<p>Never were there before, nor since, its era such mythological
+wall-paintings as are here to be seen. The aspirants for the Prix de
+Rome protest each year against such subjects being set them for their
+<i>concours</i>, but their judges, recalling how effective such examples are,
+are insistent. The best examples of the School of Fontainebleau are a
+distinct variety of French painting. The veriest dabbler in art can say
+with Michelet: "There is no reminiscence of anything Italian therein."</p>
+
+<p>Frankly, these works were the product of secondary artists and their
+pupils. Leonardo da Vinci, too old to do anything more than direct, saw
+himself succeeded by Del Sarto, Rosso and Primaticcio. Cellini may have
+contributed, too, but his labours were doubtless blotted out to a great
+extent by the orders of the all-powerful Duchesse d'&Eacute;tampes who feared
+his competition<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span> with her proteg&eacute;, Primaticcio. One of the masters of
+this coterie was Nicolo dell' Abbate, better known, perhaps, for his
+works painted at Bologna than for his frescoes at Fontainebleau.</p>
+
+
+
+<p>The Galerie Henri II is notable also for its decorations, the harmonious
+juxtaposition of sculpture and painting, and, although "restored" in
+late years, presents an astonishing pristine vigour. This apartment
+ranks with the Galerie Fran&ccedil;ois I, all things considered, as one of the
+chief show apartments of the palace. Its length is thirty metres, its
+breadth ten, with five ample round-headed windows letting in a flood of
+light on either side, one set giving on the Cour Ovale, and the other on
+the Parterre and the magnificent fa&ccedil;ade of the Porte Dor&eacute;e. The ceiling
+is broken up into octagonal <i>caissons</i>, their depths alternately laid
+with gold or silver, bearing the monogram of the monarch and his
+<i>devise</i>. The parquet is laid in divisions reproducing the design of the
+ceiling. On either side the walls are wainscoted in oak similarly
+emblazoned in gold and silver, with the initials of Diane de Poitiers,
+and of her admirer, Henri, everywhere interlaced. Again, a colossal
+monogram reproduces itself in the chimney-piece with the frescoes of
+Nicolo dell' Abbate, and fifty figures of mythological gods and heroes
+decorate the window casings.<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span></p>
+
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/illus251.jpg" width="350" height="600" alt="" title="Cheminee de la Reine" />
+</div>
+<p>The chapel dates chiefly from the time of Henri IV, the altar and
+numerous embellishments belonging to later reigns.</p>
+
+<p>A certain sentiment, not a little real beauty, and much unauthenticated
+history attach themselves to the Salon Louis XIII, the Salle du Trone,
+the Apartment of Madame de Maintenon, those of Napoleon I, of Pope Pius
+VII and of Marie Antoinette.</p>
+
+<p>The Galerie de Diane is little reminiscent of the day of the huntress,
+being a reconstitution under the First Empire, though its decorations
+date from the Restoration, and the ceiling, and furniture, apparently of
+the best of Renaissance times, are merely copies made by Louis Philippe,
+who did not hesitate, on another occasion, to blue-wash the Salon de
+Saint Louis, and who hung worthless third-rate paintings, which even
+provincial museums of the meanest rank have since refused to house, in
+the admirably decorated apartments of the period of Fran&ccedil;ois and Henri.</p>
+
+<p>Fontainebleau, to-day, is but a memory of what it was, a memory by no
+means fragmentary, by no means complete; but all sufficient.</p>
+
+<p>Of later years there is actually little to single out in the way of
+remarkable additions or restorations. Under the Second Empire the
+Galerie Fran&ccedil;ois I was repainted, some false antiquities<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> added as
+furnishings, and various ranges of books were stored away in the Galerie
+de Diane, having been brought from the chapel which had ceased to serve
+as the Library. This apartment was now refitted as a chapel, and, to
+supplant six wall paintings which had been removed, Napoleon III ordered
+seven canvases from the painter Schopin, illustrating the life of Saint
+Saturnin.</p>
+
+
+<p>Finally, the Salle de Spectacle completes the modern additions, and,
+while gaudily striking, is scarcely above the taste of a gilded caf&eacute; in
+some pompous Pr&eacute;fecture.</p>
+
+<p>Henri IV was the creator of the park of the palace, which extended as
+far as the village of Avon and absorbed all the Seigneurie de Montceau,
+of which Mi-Voie (the dairy of Catherine de M&eacute;dici) occupied a part. The
+acquisition of the Seigneurie was made in 1609. Across it was cut a
+"grand canal" in imitation of that already possessed by the Chateau de
+Fleury. It was a great rarity as a garden accessory, and was more than a
+quarter of a league long and forty metres wide. Bassompierre said in his
+memoirs that Henri IV made him a wager that it could be filled with
+water in two days. It actually took eight.</p>
+
+<p>To the north of the park, Henri IV built, under the name of La
+Menagerie, what he called<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span> a <i>maison de plaisance</i>, but which was really
+the forerunner of the animal house at Versailles.</p>
+
+<p>To all these works of Henri IV in the gardens at Fontainebleau is
+attached the name of Francine. There were two brothers of the name,
+Thomas and Alexandre, and it was the latter who chiefly occupied himself
+with the Parterre, the Chauss&eacute;e and the Grand Canal at Fontainebleau. In
+the Jardin de la Reine he erected the celebrated Fontaine de Diane which
+finally gave its name to the garden itself. The fountain was designed by
+Barth&eacute;lemy Prieur, and was cast in 1603. The original bronzes are now in
+the Louvre, those seen at Fontainebleau to-day being later works (1684).</p>
+
+<p>The Forest of Fontainebleau is a dozen leagues in circumference, and of
+an area of nearly thirty-five thousand acres. Its beauty, its natural
+beauty, is unrivalled. Rocks, ravines, valleys, patriarchal oaks and
+beeches, plains, woods, glades, meadows, lawns and cliffs, all are here.
+Its population of stag and deer was practically exterminated during the
+Revolution of 1830, but nevertheless it sustained its reputation as a
+great hunting-ground for long afterwards.</p>
+
+<p>The Royal Hunt invariably centered at La Croix du Grand Veneur, a
+notable landmark of the forest even now, at the intersection of four<span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span>
+magnificent forest roads. Its name comes from a legend of a spectral
+black huntsman who was supposed to haunt the forest, and who appeared
+for the last time, in reality or imagination, to Henri IV shortly before
+his assassination.</p>
+
+<p>In 1854, one of the last and most gorgeous of Fontainebleau hunts was
+given by Louis Napoleon. The emperor spent lavishly for the equipment of
+the hunt, and granted liberal stipends to the attendants that they might
+caparison themselves with some semblance of picturesque dignity; horses
+and dogs were furnished and cared for on the same liberal scale.</p>
+
+<p>The costuming of a hunting party under such conditions was not the least
+appealing of its picturesque elements. Three-cornered hats, gold lace,
+knee breeches, silk stockings and other costly properties, when provided
+for a single special occasion, as they were in this case, were apt to
+suggest the life of centuries long gone by rather than that of modern
+times.</p>
+
+<p>The Forest of Fontainebleau can best be briefly described as a
+rendezvous for tourists and "trippers," and as a vast open-air studio
+for the youthful emulators of "the men of Barbison."</p>
+
+<p>Historic, romantic and artistic memories and realities are on every
+hand; the march of time and progress has not dimmed them, nor thinned<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span>
+them out; the Forest of Fontainebleau remains to-day the best known and
+most delightful extent of wildwood in all the world.</p>
+
+<p>The chief of the well-known names associated with the Forest of
+Fontainebleau, and one which will never die, is that of Denecourt,
+called also the "Sylvain de la For&ecirc;t," a mythological appellation which
+came from his abounding knowledge of its devious ways and byways. It was
+in 1841 that Denecourt began his original studies and catalogued its
+every stone and tree. He invented names and gave a historical setting to
+many a picturesque and romantic site which might not have been known at
+all had it not been for his enthusiasm.</p>
+
+<p>After the vogue of Denecourt all the world followed in his footsteps
+until the Parisian knew as well the Longue Rocher, the Gorges d'Apremont
+and the Gorge de Franchard as he did the Rue de la Paix or the Champs
+Elys&eacute;es. Denecourt's great work, "<i>Promenades dans la For&ecirc;t de
+Fontainebleau</i>" appeared in 1845, and if he is to be criticised for
+letting his fancy run away with him now and then, and for the opera
+bouffe nomenclature of many of the <i>caves</i> and <i>mares</i> and <i>ch&egrave;nes</i> and
+"fairy-bowers" and "tables of kings," he at least has enabled a curious
+public to become better acquainted with this great forest.<span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span></p>
+
+<p>The flora of the Forest of Fontainebleau is remarkably varied; Denecourt
+gives seventy varieties of plants and flowers which grow and propagate
+here naturally, to which are to be added a great number of nondescript
+vines, lichens and vegetable mosses.</p>
+
+<p>Of the trees the list extends from the imposing and sometimes gigantic
+oaks, elms, beeches, and willows to shrubs and heather growth of the
+most humble species.</p>
+
+<p>A score or more of the most commonly known feathered tribes people the
+forest to-day with almost the same freedom of life and abundance as in
+monarchial times. The songsters are all there, from the robin to the
+nightingale; as well as the partridge and the celebrated indigenous
+grouse.</p>
+
+<p>Previous to 1830 the forest was well supplied with big game, deer and
+wild boar without number; but, in later times, as was but natural, these
+have been greatly thinned out. Rabbits and hares, to say nothing of
+foxes and the like, were formerly so abundant that, under Louis
+Philippe, it was necessary to carry out what was practically a war of
+extermination. To-day they exist, of course, but in no great numbers.</p>
+
+<p>Another sort of publicity has been given the Forest of Fontainebleau by
+its association with<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span> the painters of the thirties. Theodore Rousseau,
+in 1836, lived at Barbison, which at that time was but a hamlet of a few
+houses, with no encumbering hotels, garages and merry-go-rounds as
+to-day.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus259.jpg" width="600" height="369" alt="Monument to Rousseau and Millet at Barbison" title="" />
+<span class="caption"><i>Monument to Rousseau and Millet at Barbison</i></span>
+</div>
+
+<p>A certain P&egrave;re Ganne kept a sort of a lodging house where artists were
+made welcome at an exceedingly modest price. Not only the really famous
+and much exploited painters of the time gained fortunes here, but those
+of a more conservative school, who never rose to really great
+distinction, also drew much of their inspiration from the neighbourhood,
+among them Hamon, Boulanger and C&eacute;lestin Nanteuil.</p>
+
+<p>Without having to go far to hunt up their subjects, the Forest of
+Fontainebleau lying near Barbison offered to painters much that was not
+available within so small a radius elsewhere.</p>
+
+<p>Diaz was here already when, in 1849, Jacque and Millet arrived upon the
+scene, and at more or less frequent intervals, and for more or less
+lengthy stays, there came Corot, Dupr&eacute; and Daubigny.</p>
+
+<p>Just what the Barbison school produced in the way of painting all the
+world knows to-day, but these men were originally the target of every
+prejudiced critic of the Boulevards and the Faubourgs. The present day
+has brought its<span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span> reward and appreciation, though it is the dealers who
+have profited&mdash;the men are dead.</p>
+
+
+
+
+<p>In memory of the fame brought to this little corner of the forest in
+general, and to Barbison in particular, there was placed (in 1894), at
+the entrance to the village, a bronze medallion showing the heads of
+Millet and Rousseau. It was a delicate way of showing appreciation for
+the talents of those two great men who actually founded a new school of
+painting.</p>
+
+<p>At the other end of the forest is the little village of Marlotte, also a
+haven for many painters of a former day, and no less so for those of
+to-day. The old forest in three quarters of a century has seen itself
+reproduced on canvas in all its moods. No painter ever lived, nor could
+all the painters that ever lived, exhaust its infinite variety. Hebert
+in his "<i>Dictionnaire de la For&ecirc;t de Fontainebleau</i>" says, rightly
+enough, that, with the coming of the men of Fontainebleau and its
+"<i>artist-villages</i>" the classic type of "Paysage d'Italie" has
+disappeared from the Salon Catalogues.</p>
+
+<p>Art amateurs and the common people alike made the reputation of
+Fontainebleau; the mere "trippers" were brought thither by Denecourt,
+but the real forest lovers were those who were attracted by the
+masterpieces of the painters.<span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span> The town of Fontainebleau has changed
+somewhat under this double influence. At Fontainebleau itself are two
+monuments in memory of painters who have passed away. One of these is to
+the memory of Decamps, who was killed by a fall from his horse while
+riding in the forest; it is a simple bust, the work of Carrier-Belleuse.
+The other is of Rosa Bonheur who died at Thomery, a little village on
+the southern border of the forest, in 1902; it is an almost life-size
+bull from a small model by the artist herself and surmounts a pedestal
+which also bears a medallion of the artist.<span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII</h2>
+
+<h3>BY THE BANKS OF THE SEINE</h3>
+
+
+<p>On the highroad to Saint Germain one passes innumerable historic
+monuments which suggest the generous part that many minor chateaux
+played in the court life of the capital of old.</p>
+
+<p>To-day, Maisons, La Muette and Bagatelle are mere names which serve the
+tram lines for roof signs and scarcely one in a thousand strangers gives
+them a thought.</p>
+
+<p>The famous Bois de Boulogne and its immediate environment have for
+centuries formed a delicious verdant framing for a species of French
+country-house which could not have existed within the fortifications.
+These luxurious, bijou dwellings, some of them, at least, the caprices
+of kings, others the property of the new nobility, and still others of
+mere plebeian kings of finance, are in a class quite by themselves.</p>
+
+<p>Perhaps the most famous of these is the celebrated Bagatelle, within the
+confines of the Bois itself. The Chateau de Bagatelle was built in a
+month, thus meriting its name, by the Comte<span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span> d'Artois, the future
+Charles X, as a result of a wager with Marie Antoinette. On its fa&ccedil;ade
+it originally bore the inscription: "<i>Parva sed apta</i>"&mdash;"small but
+convenient."</p>
+
+<div class="figcenter" style="width: 550px;">
+<img src="images/illus264.jpg" width="550" height="493" alt="" title="Chateau de Bagatelle" />
+</div>
+
+<p>Bagatelle occupied a corner of the royal domain and, after its
+completion, was sold to the Marquise de Monconseil, in 1747, who gave to
+this princely suburban residence a dignity worthy of its origin. Then
+came La Pompadour on the scene, the <i>petite bourgeoise</i> who, by the
+nobility acquired by the donning of a court costume and marriage with
+the Sieur Normand d'&Eacute;tioles, usurped the right<span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span> to sit beside duchesses
+and be presented to the queen, if not as an equal, at least as the
+<i>maitresse</i> of her spouse, the king.</p>
+
+<p>There is a legend about a meeting between La Pompadour and the king at
+Bagatelle, a meeting in which she established herself so firmly in the
+graces of the monarch that on the morrow she formed a part of the
+entourage at Versailles.</p>
+
+<p>After having come into the possession of the heirs of Sir Richard
+Wallace, Bagatelle finally became the property of the State.</p>
+
+<p>It is in the Chateau de Bagatelle that is to be installed the "Mus&eacute;e de
+la Parole"&mdash;"The Museum of Speech." The French, innovators ever, plan
+that Bagatelle shall become a sort of conservatory of the human voice,
+and here will be classed methodically the cylinders and disks which have
+recorded the spoken words of all sorts and conditions of men.</p>
+
+<p>In this Mus&eacute;e de la Parole will be kept phonographic records of all
+current dialects in France, the argot of the Parisian lower classes,
+etc., etc.</p>
+
+<p>Up to the present the evolution of the speech of man has ever been an
+enigma. No one knows to-day how Homer or Virgil pronounced their words,
+and Racine and Corneille, though of a time less remote, have left no
+tangible record of their speech. Monsieur Got of the Com&eacute;die Fran<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span>&ccedil;aise
+believes that Louis XIV pronounced "<i>Moi</i>," "<i>le Roi</i>" as "<i>Mou&eacute;</i>" "<i>le
+Rou&eacute;</i>"; and thus he pronounced it in a speech which has been recorded in
+wax and is to form a part of the collection at Bagatelle.</p>
+
+<p>The Polo Grounds of Bagatelle, between the chateau and the Seine as it
+swirls around the Ile de la Folie, are to-day better known than this
+dainty little Paris palace; but Bagatelle will some day come to its own
+again.</p>
+
+<p>Neuilly bounds the Bois de Boulogne on the north, and has little of a
+royal appearance to-day, save its straight, broad streets.</p>
+
+<p>There is a royal incident connected with the Pont de Neuilly which
+should not be forgotten. It came about in connection with the return of
+Henri IV from Saint Germain in company with the queen and the Duc de
+Vendome. They were in a great coach drawn by four horses which insisted
+on drinking from the river in spite of the efforts of the coachman to
+prevent them.</p>
+
+<p>The carriage was overturned and the royal party barely escaped being
+drowned. One of the aids who accompanied them recounted the fact that
+the impromptu bath had cured the king's toothache which he had acquired
+over a rather hasty meal just before leaving the palace. "Had I
+witnessed the adventure," said the Mar<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span>quis de Verneuil, "I should have
+proposed the toast: 'Le Roi Boit!" As a result of this incident a new
+bridge was constructed, though it was afterwards replaced by the present
+stone structure over which a ceaseless traffic rushes in and out of
+Paris to-day. It was this present bridge over which Louis XV was the
+first to pass on September 22, 1772.</p>
+
+<p>The Chateau de Neuilly was a favourite suburban residence of Louis
+Philippe. It was here that a delegation came to offer him the crown,
+and, after he had become king, he was pleased to still inhabit it and
+actually spent considerable sums upon its maintenance. When the
+Revolution of 1848 broke out, the sovereign took refuge at Neuilly and,
+when besieged by the multitude, took flight in the night of February 26
+and left his chateau in the hands of a band of ruffians who pillaged it
+from cellar to garret, finally setting it on fire. It burned like a pile
+of brushwood, and it is said that more than a hundred drunken desperados
+perished when its walls fell in. This was the tragic end of the Chateau
+de Neuilly.</p>
+
+<p>By a decree of the president of the later Republic the Orleans princes
+were obliged to sell all their French properties and the park of the
+Chateau de Neuilly was cut up into morsels and lots were sold to all
+comers. Thus was<span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span> born that delightful Paris suburb, with the broad,
+shady avenues and comfortable houses, with which one is familiar to-day.
+The aristocratic Parc de Neuilly, with Saint James, is the only tract
+near Paris where one finds such lovely gardens and such fresh, shady
+avenues.</p>
+
+<p>Another quarter of Neuilly possesses a history worthy of being
+recounted. The district known as Saint James derived its name from a
+great suburban property which in 1775 belonged to Baudart de Saint
+James. He created a property almost royal in its appointments, its
+gardens having acquired an extraordinary renown. When he became a
+bankrupt a throng of persons visited the property not so much with a
+view to purchase as out of curiosity. A writer of the time says of this
+Lucullus that he was the envy of all Paris. He died soon after his ruin,
+from chagrin, and in apparent poverty, which seemingly established his
+good faith with his creditors. Under the First Empire the domain was
+bought by, or for, the Princesse Borghese, who here gave many brilliant
+f&ecirc;tes at which the emperor himself frequently assisted. On the occasion
+of the marriage of Napoleon to Marie Louise a series of f&ecirc;tes took place
+here which evoked the especially expressed encomiums of the emperor.</p>
+
+<p>In 1815 Wellington made it his headquarters<span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span> and here had his first
+conference with Blucher. Upon Wellington quitting Saint James the
+property was pillaged by the Iron Duke's own troops and actually
+demolished by the picks and axes of the soldiery.</p>
+
+<p>Near the Passy entrance of the Bois is La Muette, a relic of a royal
+hunting-lodge which took its name from the royal pack of hounds
+(<i>meute</i>) which was formerly kept here.</p>
+
+<p>The Chateau de la Muette was the caprice of Fran&ccedil;ois I, who, when he
+came to Paris, wished to have his pleasures near at hand, and, being the
+chief partisan of the hunt among French monarchs, built La Muette for
+this purpose.</p>
+
+<p>The Chateau de la Muette is thus classed as one of the royal dwellings
+of France though hardly ever is it mentioned in the annals of to-day.</p>
+
+<p>Rebuilt by Charles IX, from his father's more modest shooting box, La
+Muette became the centre of the court of Marguerite de Navarre, the
+first wife of Henri IV; after which it served as the habitation of the
+dauphin, who became Louis XIII.</p>
+
+<p>During the regency, Philippe d'Orleans took possession of the chateau
+until the enthronement of Louis XV. The latter here established a little
+court within a court, best described by the French as: "<i>ses plaisirs
+priv&eacute;s</i>." It was this<span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span> monarch who rebuilt, or at least restored, the
+chateau, and brought it to the state in which one sees it to-day.</p>
+
+<p>In 1783 Louis XVI, Marie Antoinette and the court took up a brief
+residence here to assist at the aerostatic experiences of De Rosier, and
+in 1787, ceasing to be a royal residence, La Muette was offered for sale
+after first having been stripped of its precious wainscotings, its
+marbles and the artistic curiosities of all sorts with which it had been
+decorated. The chateau itself now became the property of Sebastian
+Erard, who bought it for the modest price of two hundred and sixty
+thousand francs.</p>
+
+<p>Somewhat farther from Paris, crossing the peninsula formed by the first
+of the great bends of the Seine below the capital, is Chatou which has a
+royal reminder in its Pavilion Henri IV, or Pavillon Gabrielle, which
+the gallant, love-making monarch built for Gabrielle d'Estr&eacute;es. Formerly
+it was surrounded by a vast park and must have been almost ideal, but
+to-day it is surrounded by stucco, doll-house villas, and unappealing
+apartments, until only a Gothic portal, jutting from a row of dull house
+fronts, suggests the once cosy little retreat of the lovely Gabrielle.</p>
+
+<p>The height of Louveciennes, above Bougival, closes the neck of the
+peninsula and from it a vast<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span> panorama of the silvery Seine and its
+<i>coteaux</i> stretches out from the towers of Notre Dame on one hand to the
+dense forest of Saint Germain on the other.</p>
+
+<p>The original Chateau de Louveciennes was the property of Madame la
+Princesse de Conti, but popular interest lies entirely with the Pavilion
+du Barry, built by the architect Ledoux under the orders of Louis XV.</p>
+
+<p>Du Barry, having received the chateau as a gift from the king, sought to
+decorate it and re&euml;mbellish it anew. Through the ministrations of a
+certain Drouais, Fragonard was commissioned to decorate a special
+pavilion outside the chateau proper, destined for the "<i>collations du
+Roi</i>."</p>
+
+<p>The subject chosen was the "Progres de l'Amour dans le C&oelig;ur des
+Jeunes Filles." Just where these panels are to-day no one seems to know,
+but sooner or later they will doubtless be discovered.</p>
+
+<p>Fragonard's famous "Escalade," or "Rendezvous," the first of the series
+of five proposed panels, depicted the passion of Louis XV for du Barry.
+The shepherdess had the form and features of that none too scrupulous
+feminine beauty, and the "<i>berger gallant</i>" was manifestly a portrait of
+the king.</p>
+
+<p>Perhaps these decorations at Louveciennes were<span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span> elaborations of these
+smaller canvases. It seems quite probable.</p>
+
+<p>Sheltered snugly against the banked-up Forest of Saint Germain, on the
+banks of the Seine, is Maisons-Laffitte. Maisons is scarcely ever
+mentioned by Parisians save as they comment on the sporting columns of
+the newspapers, for horse-racing now gives its distinction to the
+neighbourhood, and the old Chateau de Maisons (with its later suffix of
+Laffitte) is all but forgotten.</p>
+
+<p>Fran&ccedil;ois Mansart built the first Chateau de Maisons on a magnificent
+scale for Ren&eacute; de Longueil, the Superintendent of Finance. In a later
+century it made a most effectual appeal to another financier, Laffitte,
+the banker, who parcelled out the park and stripped the chateau.</p>
+
+<p>For a century, though, the chateau belonged to the family of its
+founder, and in 1658 the surrounding lands were made into a Marquisate.
+In 1671, on the day of the death of Philippe, Duc d'Anjou, Maisons may
+be said to have become royal for the court there took up its residence.
+Later, the Marquis de Soyecourt became the owner and Voltaire stayed
+here for a time; in fact he nearly died here from an attack of smallpox.</p>
+
+<p>In 1778 the property was acquired by the Comte d'Artois and the royal
+family of the<span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span> time were frequent guests. The king, the queen and each
+of the princes all had their special apartments, and if Louis XVI had
+not been too busy with other projects, more ambitious ones, there is
+little doubt but that he would have given Maisons an &eacute;clat which during
+all of its career it had just missed. At the Revolution it was sold as
+National Property and the proceeds turned into public coffers.</p>
+
+<p>With the Empire the chateau became more royalist than ever. Mar&eacute;chal
+Lannes became its proprietor, then the Mar&eacute;chal de Montebello, who here
+received Napoleon on many occasions. With the invasion of 1815 the
+village was devastated, but the chateau escaped, owing to its having
+been made the headquarters of the invading allies. After this, in 1818,
+the banker Laffitte came into possession. He exercised a great
+hospitality and lived the life of an opulent bourgeois, but he destroyed
+most of the outbuildings and the stables built by Mansart, and cut up
+the great expanse of park which originally consisted of five hundred
+hectares. His ideas were purely commercial, not the least esthetic.</p>
+
+<p>The scheme of decoration within, as without, is distinctly unique. Doric
+pilasters and columns support massive cornices and round-cornered
+ceilings, with here and there antique motives and<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span> even Napoleonic
+eagles as decorative features. To-day all the apartments are deserted
+and sad. The finest, from all points of view, is that of the
+Salle-&agrave;-Manger, though indeed some of the motives are but plaster
+reproductions of the originals. The chimney-piece, however, is left, a
+pure bijou, a model of grace, more like a pagan altar than a
+comparatively modern mantel. The oratory is in the pure style of the
+Empire, and the stairway, lighted up by a curiously arranged
+dome-lantern, gives a most startling effect to the entrance vestibule.</p>
+
+<p>In general the design of Maisons is gracious, not at all outr&eacute;, though
+undeniably grandiose; too much so for a structure covering so small an
+area. The Cour d'Honneur gives it its chief exterior distinction and the
+two pavilions have a certain grace of charm, when considered separately,
+which the ensemble somewhat lacks. The surroundings, had they not been
+ruthlessly cut up into building lots for over-ambitious Paris
+shopkeepers, would have added greatly to the present appearance of the
+property. As it is, the near-by race-course absorbed the orchard, the
+<i>pelouse</i> and many of the garden plots.<span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII</h2>
+
+<h3>MALMAISON AND MARLY</h3>
+
+
+<p>Out from Paris, by the cobbly Pav&eacute; du Roi, which a parental
+administration is only just now digging up and burying under, just
+beyond the little suburban townlet of Rueil (where the Empress Josephine
+and her daughter Hortense lie buried in the parish church), one comes to
+Malmaison of unhappy memory. It is not imposing, palatial, nor,
+architecturally, very worthy, but it is one of the most sentimentally
+historic of all French monuments of its class.</p>
+
+<p>Since no very definite outlines remain of any royal historical monument
+at Rueil to-day the tourist bound towards Versailles by train, tram or
+road, gives little thought to the snug little suburb through which he
+shuffles along, hoping every minute to leave the noise, bustle and
+cobblestones of Paris behind.</p>
+
+<p>Rueil is deserving of more consideration than this. According to Gregory
+of Tours the first race of kings had a "pleasure house" here, and called
+the neighbourhood Rotolajum. Not always did<span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span> these old kings stay cooped
+up in a fortress in the Isle of Lutetia. Sometimes they went afield for
+a day in the country like the rest of us, and to them, with their slow
+means of communication and the bad roads of their day, Rueil, scarce a
+dozen miles from Notre Dame, seemed far away.</p>
+
+<p>Childerbert I, son of Clovis, is mentioned as having made a protracted
+sojourn at Rueil, and whatever may have existed then in the way of a
+royal residence soon after passed to the monks of Saint Denis, who here
+fished and hunted and lived a life of comfort and ease such as they
+could hardly do in their fortress-abbey. They, too, required change and
+rest from time to time, and, apparently, when they could, took it.</p>
+
+<p>The Black Prince burned the town and all its dependencies in 1346, and
+only an unimportant village existed when Richelieu thought to build a
+country-house here on this same charming site which had so pleased the
+first French monarchs. Richelieu did his work well, as always, and built
+an immense chateau, surrounded by a deep moat into which were turned the
+swift-flowing waters of the Seine. A vast park was laid out, in part in
+the formal manner and in part as a natural preserve, and the
+neighbourhood once more became frequented by royalty and the nobles of
+the court.<span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span></p>
+
+<p>Richelieu bequeathed the property to his niece, the Duchesse
+d'Aiguillon, and Louis XIV became a frequent dweller there&mdash;as a
+visitor, but he did not mind that. Louis XIV was sometimes a monarch,
+sometimes a master, and sometimes a "family friend," to put it in a
+noncommittal manner.</p>
+
+<p>The Revolution nearly made way with the property and the Duc de Massena,
+a few years afterwards, re&euml;stablished it after a fashion, but
+speculating land-boomers came along in turn and royal memories meaning
+nothing to them the property was cut up into streets, avenues and house
+lots.</p>
+
+<p>The Chateau de Malmaison, which is very near Rueil, is in quite a
+different class. Its history comes very nearly down to modern times. The
+memory of Malmaison is purely Napoleonic. Its historical souvenirs are
+many, but its actual ruins have taken on a plebeian aspect of little
+appeal in these later days.</p>
+
+<p>In 1792 Malmaison was sold as a piece of national merchandise to be
+turned into <i>&eacute;cus</i>, and a certain Monsieur Lecouteux de Canteleu, having
+the ready cash and a disposition to live under its roof, took over the
+proprietorship for a time. It was he who sold it to Josephine
+Beauharnais, and it was she who gave it a glory and splendour<span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span> which it
+had never before possessed, gave it its complete fame, in fact.</p>
+
+<div class="figcenter" style="width: 376px;">
+<img src="images/illus280.jpg" width="376" height="600" alt="Chateau de Malmaison" title="" />
+<span class="caption"><i>Chateau de Malmaison</i></span>
+</div>
+
+<p>Napoleon himself, as First Consul, was passionately fond of the place,
+but by the time he had become emperor, because of unhappy memories,
+perhaps, for he had them at times, came rarely to this charming suburban
+chateau.</p>
+
+<p>It was at Malmaison that began the good fortune of Josephine, and it was
+at Malmaison that it flickered out like the dying flame of a candle.</p>
+
+<p>In a beating rain, on Saturday, December 16, 1809, Josephine quitted the
+Tuileries, her eyes still red with the tears from that last brief
+interview. She arrived at Malmaison at the end of a lugubrious day, when
+the whole place was enveloped in a thick fog. She passed the night
+almost alone in this great house where she had previously been so happy.
+She could hardly, however, have been more sad than Napoleon was that
+same night. He had shut himself up in his cabinet, remorseful and alone.</p>
+
+<p>The Sunday following was hardly less melancholy, for it was then
+Josephine learned that Malmaison had been endowed with an income of two
+millions for its upkeep, and that her personal belongings and the
+furnishings of her favourite apartments were already on the way thither
+from the Tuileries. The wound was not even<span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span> then allowed to heal, for
+she learned that Napoleon had ordained that she was to receive the
+visits of the court as if she were still empress.</p>
+
+
+<p>Napoleon had already written his former spouse to the effect that he
+would give much to see her, but that he did not feel sufficiently sure
+of himself to permit of it. This historic letter closed thus; "<i>Adieu,
+Josephine, bonne nuit, si tu doutais de moi, tout sera bien indigne</i>."</p>
+
+<p>On the 17th of December Napoleon actually did come to Malmaison to see
+her from whom he was officially separated. Josephine had confided to
+Madame de Remusat, her lady-in-waiting, "It almost seems as if I were
+dead, and only possessed of the faculty of remembering the past."</p>
+
+<p>In this Malmaison, so full of souvenirs of other days, Josephine was
+obliged to content herself, for on January 12, 1810, the religious
+marriage of Josephine and Napoleon was annulled automatically because,
+as was claimed, it had not been celebrated with the necessary
+formalities.</p>
+
+<p>Here at Malmaison Josephine even surrounded herself with the most
+intimate souvenirs of Napoleon: a lounging chair that he was wont to
+occupy stood in its accustomed place; his bed was always made; his sword
+hung upon the wall; his pen was in his inkwell; a book was open on<span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span> his
+desk and his geographical globe&mdash;his famous <i>mappemond</i>&mdash;was in its
+accustomed place.</p>
+
+<p>Princes passing through Paris came to Malmaison to salute the former
+empress, and she allowed herself to become absorbed in her greenhouses
+and her dairy, the direction of her house, her receptions and her
+<i>petite cour</i>.</p>
+
+<p>In time all came to an end. When Napoleon returned to Paris in 1815 he
+interrogated the doctor who had cared for Josephine during the illness
+which terminated in her death the year before and asked him: "Did she
+speak of me at the last?" The doctor replied: "Often, very often." With
+emotion Napoleon replied simply: "<i>Bonne femme: bonne Josephine elle
+m'aimeit vraiment</i>."</p>
+
+<p>After Waterloo Napoleon himself retired to Malmaison, which had become
+the property of Josephine's children, Eugene and Hortense, and closed
+himself up in the room where she died, the library which he occupied
+when triumphant First Consul.</p>
+
+<p>Here he lived five mortal days of anguish preceding his departure for
+Rochefort on that agonizing exile from which he never returned.</p>
+
+<p>After the divorce Josephine preserved the property as her own particular
+residence, and in 1814 received there the celebrated visit of the<span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span>
+allied sovereigns. History tells of a certain boat ride which she took
+on a neighbouring lake in company with the Emperor Alexander which is
+fraught with much historic sentiment. It was this imprudent excursion,
+in the cool of a May evening, that caused the death of the former
+empress three days later. It was from this bijou of a once royal abode
+that Napoleon launched his famous proclamation to the army which the
+arrogant Fouch&eacute; refused to have printed in the "<i>Moniteur Officiel</i>."
+Upon this Napoleon sent the Duc de Rovigo to Paris for his passports and
+the necessary orders which would enable him to depart in peace. The next
+moment he had changed his mind, and he changed it again a few moments
+afterwards. As the result of the Prussians' advance on Paris by the left
+bank of the Seine Napoleon was obliged to accept the inevitable, and
+with the words of General Becker ringing in his ears: "<i>Sire, tout est
+pret</i>," he crossed the vestibule and entered the gardens amid a painful
+calm on his part, and an audible weeping by his former fellows in arms
+who were lined up to do him honour. He embraced Hortense passionately,
+and saluted all the personages of his party with a sympathy and emotion
+unbelievable. With an eternal adieu and a rapid step down the garden
+walk to the driveway, he at last<span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span> entered the carriage which was
+awaiting him and was driven rapidly away. Some days after the Allies
+pillaged and sacked Malmaison. Its chief glory may be said to have
+departed with the Corsican.</p>
+
+<p>Under the Restoration, Prince Eugene had a sort of "rag sale" of what
+was left. The lands which Josephine had bought of Lecouteaux were sold
+to the highest bidder and the exotic shrubs and plants to any who would
+buy, the pictures to such connoisseurs as had the price, those that were
+left being sent to Munich. A Swedish banker now came on the scene (1826)
+and bought the property&mdash;the chateau and the park&mdash;which he preserved
+until his death twenty years later. Then it went to Queen Christina, and
+was ultimately purchased by Napoleon III.</p>
+
+<p>In October, 1870, during the siege of Paris, General Ducrot sought to
+make a reconnaissance by way of Malmaison, and so weak was his project
+that the equipages of the King of Prussia and his &Eacute;tat Major invested
+the environs and made the property their official headquarters.</p>
+
+<p>Near by is a fine property called "Les Bruyeres," a royal estate of
+Napoleon III. It was created and developed by the emperor and was always
+referred to as a Parc Imp&eacute;rial.</p>
+
+<p>Perhaps the most banal of all the royal souvenirs<span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span> around Paris is that
+gigantic mill-wheel known as the Machine de Marly, down by the Seine a
+few miles beyond Malmaison, just where that awful cobblestoned roadway
+begins to climb up to the plateau on which sits the chateau of Saint
+Germain and its park.</p>
+
+<p>Because it is of unesthetic aspect is no reason for ignoring the famous
+Machine de Marly, the great water-hoisting apparatus first established
+in the reign of Louis XIV to carry the waters of the Seine to the ponds
+and fountains of Versailles.</p>
+
+<p>It was a creation of a Li&egrave;gois, named Rennequin Sualem, who knew not how
+to read or write, but who had a very clear idea of what was wanted to
+perform the work which Louis XIV demanded. For a fact the expense of the
+erection of the "Machine," and the cost of keeping its great wheels
+turning, were so great that it is doubtful if it was ever a paying
+proposition, but that was not a <i>sine qua non</i> so far as the king's
+command was concerned. It had cost millions of <i>livres</i> before its
+wheels first turned in 1682, and, if the carpenter Brunet had not come
+to the rescue to considerably augment the volume of water raised (by
+means of compressed air), it is doubtful if there would ever have been
+enough water for the fountains of Versailles to play even one day a
+year, as they do now every happy Sunday, to the delight of the
+middle-class Parisian and the droves of Cook<span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span>ites who gaze on them with
+wonder-opened eyes.</p>
+
+<p>The water was led from the Machine de Marly to Versailles by a conduit
+of thirty-six arches where, upon reaching a higher level than the
+gardens, it flowed by gravity to the fountains and basins below. This
+aqueduct was six hundred and forty-three metres long, and twenty-three
+metres high. It was a work which would have done credit to the Romans.</p>
+
+<p>A far greater romantic sentiment attaches itself to the royal chateau of
+Marly-le-Roi than to the utilitarian "Machine," by which the suburb is
+best known to-day.</p>
+
+<p>The history of Marly-le-Roi appears from the chronicles the most
+complicated to unravel of that of any of the kingly suburbs of old
+Paris, though in the days of the old locomotion a townlet twenty-six
+kilometres from the capital was hardly to be thought of as a suburb.</p>
+
+<p>Marly-le-Roi, at any rate, with Marly-le-Bourg and Marly-le-Chatel, was
+a royal dwelling from the days of Thierry III (678). The neighbouring
+region had been made into a countship by the early seventeenth century,
+and Louis XIV acquired it as his right in exchange for
+Neuphle-le-Chateau in 1693, incorporating it into the domain of
+Versailles.</p>
+
+<p>By this time it had become known as Marly-<span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span>le-Roi, in distinction to the
+other bourgs, and the king built a chateau-royal, variously known as the
+Palais and the Ermitage. For a fact it was neither one thing nor the
+other, according to accepted definition, but rather a group of a dozen
+dependent pavilions distributed around a central edifice, the whole
+straggling off into infinite and manifestly unlovely proportions. It was
+as the sun surrounded by the zodiac.</p>
+
+<p>Isolated on a monticule by the river bank the chateau overlooked its
+brood of small pavilions, which in a way formed an <i>entresol</i>, or foyer,
+leading to the Pavilion Royal. All were connected by iron trellises, <i>en
+berceau</i>, and the effect must have been exceedingly bizarre; certainly
+theatrical.</p>
+
+<p>The four faces of these pavilions were frescoed, and balustrades and
+vases at the corners were the chief architectural decorations.</p>
+
+<p>The royal pavilion consisted within of four vestibules on the ground
+floor, each leading to a grand apartment in the centre. In each of the
+four angles was a "self-contained" apartment of three or four rooms.
+What this royal abode lacked in beauty it made up for in convenience.</p>
+
+<p>Each of the satellite pavilions was occupied by a high personage at
+court. The Chapel and the Corps de Garde were detached from the chateau
+proper, and occupied two flanking wings.<span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span></p>
+
+<p>The plans of the "Palais-Chateau-Ermitage" of Marly-le-Roi were from the
+fertile brain of Mansart, and were arranged with considerable ingenuity,
+if not taste, generously interspersed with lindens and truly magnificent
+garden plots. There was even a cascade, or rather a tumbling river
+(according to the French expression), for it fell softly over
+sixty-three marble steps, forming a sort of wrinkled sheet of water,
+which must indeed have been a very charming feature. It cost a hundred
+thousand <i>&eacute;cus</i> to merely lead the water up to it. The expenses of the
+Pavilion de Marly, in the ten years from 1680 to 1690, amounted to
+4501279 <i>livres</i>, 12 <i>sols</i>, 3 <i>deniers</i>. From this one may well judge
+that it was no mean thing.</p>
+
+<p>The honour of being accounted a person of Marly in those times was
+accredited as a great distinction, for it went without saying in that
+case one had something to do with affairs of court, though one might
+only have been a "furnisher." To be a courtier of Louis XIV, or to be a
+<i>pensionnaire</i> at Versailles, could hardly have carried more
+distinction.</p>
+
+<p>The court usually resided at Marly from Wednesday until Saturday, and as
+"the game" was the thing it is obvious that the stakes were high.</p>
+
+<p>The vogue of the day was gaming at table, and<span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span> Marly, of all other
+suburban Paris palaces, was an ideal and discreet place for it. "High
+play and midnight suppers were the rule at Marly." This, one reads in
+the court chronicle, and further that: "The royal family usually lost a
+hundred thousand <i>&eacute;cus</i> at play at each visit." One "gentleman croupier"
+gained as much as three thousand <i>louis</i> at a single sitting.</p>
+
+<p>Madame de Maintenon was the real ruler of Marly in those days; she had
+appropriated the apartments originally intended for the queen, from
+which there was a private means of communication to the apartments of
+the king, and another forming a sort of private box, overlooking the
+royal chapel.</p>
+
+<p>Little frequented by Louis XV, and practically abandoned by Louis XVI,
+the palace at Marly was sold during the Revolution, after which it was
+stripped of its art treasures, many of which adorn the gardens of the
+Tuileries to-day; the great group of horses at the entrance to the
+Champs Elys&eacute;es came from the watering place of Marly.</p>
+
+<p>Actually, the royal pavilion at Marly has been destroyed, and there
+remain but the most fragmentary, unformed heaps of stones to tell the
+tale of its ample proportions in the days of Louis XIV and de Maintenon.</p>
+
+<p>The park is to-day the chief attraction of the<span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span> neighbourhood, like the
+one at Saint Cloud, which it greatly resembles. Across the park lies the
+great highway from the capital to Versailles, over which so many joyous
+cavalcades were wont to amble or gallop in the days of gallantry. The
+pace is not more sober to-day, but gaily caparisoned horses and gaudy
+coaches have given way to red and yellow "Rois des Belges," the balance
+lying distinctly in favour of the former mode of conveyance, so far as
+picturesqueness is concerned.</p>
+
+<p>The For&ecirc;t de Marly is very picturesque, but of no great extent. Formerly
+it enclosed many shooting-boxes belonging to the nobles of the court, of
+which those of Montjoie and Desert de Retz were perhaps the most
+splendid.</p>
+
+<p>On the Versailles road was the Chateau de Clagny, a royal <i>maison de
+plaisance</i>, of an attractive, but trivial, aspect, though its
+architecture was actually of a certain massiveness. Its gardens and the
+disposition of its apartments pleased the king's fancy when he chose to
+pass this way, which was often. He is said to have personally spent over
+two million francs on the property. It must have been of some
+pretensions, this little heard of Chateau de Clagny, for in a single
+year ten thousand <i>livres</i> were expended on keeping the gardens. To-day
+it is non-existent.<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV</h2>
+
+<h3>SAINT CLOUD AND ITS PARK</h3>
+
+
+<p>The historic souvenirs of Saint Cloud and its royal palace are many and
+varied, though scarcely anything tangible remains to-day of the fabric
+so loved by Francis I and Henri II, and which was, for a fact, but a
+magnificent country-house, originally belonging to the Archbishops of
+Paris.</p>
+
+<p>To-day the rapid slopes of the hillsides of Saint Cloud are peopled with
+a heterogeneous mass of villas of what the Parisian calls the "coquette"
+order, but which breathe little of the spirit of romance and gallantry
+of Renaissance times. Saint Cloud is simply a "discreet" Paris suburb,
+and the least said about it, its villas and their occupants to-day, the
+better.</p>
+
+<p>The little village of Saint Cloud which is half-hidden in the Forest of
+Rouvray, was sacked and burned by the English after the battle of
+Poitiers, and then built up anew and occupied by the French monarchs in
+the reign of Charles VI. It was he who built the first <i>chateau de
+plaisance</i> here in which the royal family might live<span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span> near Paris and yet
+amid a sylvan environment.</p>
+
+<p>After this came the country-house of the Archbishops of Paris that Henri
+II, when he tired of it, tore down and erected a villa in the
+pseudo-Italian manner of the day, and built a fourteen-arch stone bridge
+across the Seine, which was a wonder of its time.</p>
+
+<p>The banker Gondi, after huddling close to royalty, turned over an
+establishment which he had built to Catherine de M&eacute;dici, who made use of
+it whenever she wished to give a country f&ecirc;te or garden party. By this
+time the whole aspect of Saint Cloud was royal.</p>
+
+<p>It was within this house that the unhappy, and equally unpopular, Henri
+III was cut down by the three-bladed knife of the monk Jacques Cl&eacute;ment.
+The incident is worth recounting briefly here because of the rapidity
+with which history was made by a mere fanatical knife-thrust. With the
+death of Henri III came the extinction of the House of Valois.</p>
+
+<p>As the king sat in the long gallery of the palace playing at cards, on
+August 1, 1589, his cloak hanging over his shoulder, a little cap with a
+flower stuck in it perched over one ear, and suspended from his neck by
+a broad blue ribbon a basketful of puppies, an astrologer by the name of
+Osman was introduced to amuse the royal party.<span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span></p>
+
+<p>"They tell me you draw horoscopes," remarked the king.</p>
+
+<p>"Sire, I will tell yours, if you will, but the heavens are
+unpropitious."</p>
+
+<hr style='width: 45%;' />
+
+<p>"Just over Meudon is a star which shines very brightly," continued the
+astrologer, "it is that of Henri de Navarre. But look, your Majesty,
+another star burns brilliantly for a moment and then disappears, mayhap
+it is your own."</p>
+
+<p>"If ever a man had a voice hoarse with blood it is that astrologer,"
+said the king. "Away with him."</p>
+
+<p>"If the Valois Henri doesn't die before the setting of another sun, I'll
+never cast horoscope more," said the astrologer as he was hustled across
+the courtyard and out into the highroad.</p>
+
+<p>As he left, a man in a monk's garb begged to be admitted to the king's
+presence. It was Jacques Cl&eacute;ment, the murderous monk, a wily Dominican,
+bent on a mission which had for its object the extinction of the Valois
+race.</p>
+
+<p>While the king was reading a letter which the monk had presented the
+latter stabbed him deep in the stomach.</p>
+
+<p>Swooning, the king had just time to cry out: "<i>Ha! le mechant moine: Il
+m'a tu&eacute;, qu'on le tue.</i>"<span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span></p>
+
+<p>The murderer in turn was struck down forthwith and his body, thrown from
+the windows of the palace, was <i>&eacute;cartel&eacute;</i> by four white horses, which is
+the neat French way of saying "drawn and quartered."</p>
+
+<p>It was an imposing cort&egrave;ge which wound down from the heights of Saint
+Cloud and followed the river bank to Saint Germain, Poissy and thence to
+Compi&egrave;gne, conveying all that was mortal of Henri III, the least popular
+of all the race of Valois. Following close behind the bier were Henri IV
+and his suite, the favourites d'Epernon, Laschant, Dugastz and an
+impressive soldiery.</p>
+
+<p>After the death of Henri III, Henri de Navarre, who played a not
+unpicturesque part in the funeral ceremonies, installed himself in a
+neighbouring property known as the Maison du Tillet. Thus it is seen
+that the royal stamp of the little bourg of Saint Cloud was never
+wanting&mdash;not until the later palace and most of the town were drenched
+with kerosene and set on fire by the Prussians in 1871.</p>
+
+<p>The "Maison de Gondi" came, by a process of acquisition, and
+development, in time, to be the royal palace of Saint Cloud. Its
+overloaded details of Italian architecture were brightened up a bit by
+the surroundings planned and exe<span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span>cuted by the landscapist Le Notre and
+the life of the court in its suburban retreat took on a real and genuine
+brilliance which under the restraint of the gloomy walls of the Louvre
+and Paris streets could hardly have been.</p>
+
+<p>The brightest light shining over Saint Cloud at this time was the
+radiance shed by the brilliant Henriette d'Angleterre. Her reign as a
+social and witty queen of the court was brief. She died at the age of
+twenty-six, poisoned at the instigation of the Chevalier de Lorraine
+whom she had caused to be exiled. This was the common supposition, but
+Louis XIV was afterwards able to prove (?) his brother innocent of the
+crime.</p>
+
+<p>The gazettes of the seventeenth century recount many of the f&ecirc;tes given
+at Saint Cloud by Monsieur on the occasion of his marriage to the
+Princesse Palatine in 1671. One of the most notable of these was that
+given for Louis XIV, wherein the celebrated cascades&mdash;an innovation of
+Le Notre&mdash;were first brought to view.</p>
+
+<p>Mansart was called in and a great gallery intended for f&ecirc;tes and
+ceremonies was constructed, and Mignard was given the commission for its
+decorations.</p>
+
+<p>Monsieur died within the walls of the palace to which he had added so
+many embellishments,<span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span> as also did his second wife. Three royalties dead
+of ambition, one might well say, for their lives were neither tranquil
+nor healthful. They went the pace.</p>
+
+<p>The regent journeyed out from Paris to this riverside retreat to receive
+the Tzar Peter in 1717, and in 1752 Louis Philippe d'Orleans set about
+to give a f&ecirc;te which should obscure the memory of all former events of a
+like nature into oblivion. How well he succeeded may be a matter of
+varying opinion, for the French have ever been prodigally lavish in the
+conduct of such affairs. At all events the occasion was a notable one.</p>
+
+<p>The predilection of royalty for Saint Cloud was perhaps not remarkable,
+all things considered, for it was, and is, delightfully environed, and
+about this time the Duc d'Orleans secretly married the Marquise de
+Montesson and installed her in a habitation the "<i>plus simple</i>," a mere
+shack, one fancies, costing six millions. The <i>nouveau riche</i> of to-day
+could scarcely do the thing with more <i>&eacute;clat</i>.</p>
+
+<p>The Revolution took over the park of Saint Cloud and its appurtenances
+and donated them to the democracy&mdash;"for the pleasure of the people,"
+read the decree.</p>
+
+<p>On the eighteenth Brumaire, the First Re<span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span>public blinked itself out in
+the Palais de Saint Cloud, and the Conseil de Cinq Cents installed
+itself therein under the Directoire. Bonaparte, returning from Egypt,
+arrived at Saint Cloud just as Lemercier was dissolving the Conseil.
+Seeing trouble ahead he commanded Murat to clear the chamber by drawn
+bayonets. He kept his light shining just a bit ahead of the others, did
+Napoleon. His watchword was initiative. Deputies clambered over each
+other in their haste to escape by stairway, door and window, and
+Bonaparte saw himself Consul without opposition&mdash;for ten years&mdash;for
+life.</p>
+
+<p>The royal residences were put at Napoleon's disposition and he wisely
+chose Saint Cloud for summer; Saint Cloud the cradle of his powers. As a
+restorer and rebuilder of crumbling monuments Napoleon was a master, as
+he was in the destructive sense when he was in the mood, and changes and
+additions were made at Saint Cloud which for comfort and convenience put
+it in the very front rank of French royal residences.</p>
+
+<p>In March, 1805, Pope Pius VII baptised, amid a grand pomp and ceremony,
+in the chapel of the palace, the son of Louis Bonaparte, and five years
+afterwards (April 1, 1810), the same edifice saw the religious marriage
+of Napoleon with Marie Louise.<span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span></p>
+
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus299.jpg" width="650" height="429" alt="The Gardens of Saint Cloud" title="" />
+<span class="caption"><i>The Gardens of Saint Cloud</i></span>
+</div>
+
+<p>On March 31, 1810, a strange animation dominated all the confines of the
+palace. It was the occasion of the celebration of Napoleon's civil
+marriage with Marie Louise. They did not enter the capital until three
+days later for the ceremonial which united the daughter of the emperors
+who were descendants of the Roman C&aelig;sars, to the "Usurper," who was now
+for the first time to rank with the other crowned heads of Europe.</p>
+
+<p>The cort&egrave;ge which accompanied their majesties from Saint Cloud to Paris
+was a pageant which would take pages to describe. The reader of these
+lines is referred to the impassioned pages of the works of Frederic
+Masson for ample details.</p>
+
+<p>A hundred thousand curiosity seekers had come out from Paris and filled
+the alleys of the park to overflowing. Music and dancing were on every
+hand. Mingled with the crowd were soldiers of all ranks brilliantly clad
+in red, blue and gold. "These warriors were a picturesque, obtrusive
+lot," said a chronicler; "after having invaded Austria they acclaim the
+Austrian."</p>
+
+<p>In 1815 the capitulation of Paris was signed at Saint Cloud. The gardens
+were invaded by a throng which gave them more the aspect of an
+intrenched camp than a playground of princes. A brutal victor had
+climbed booted<span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span> and spurred into the bed of the great Napoleon and on
+arising pulled the bee-embroidered draperies down with him and trampled
+them under foot. Was this a proper manifestation of victory?</p>
+
+
+<p>At this period another great f&ecirc;te was given in the leafy park of Saint
+Cloud, a f&ecirc;te which French historians have chiefly passed over silently.
+The host on this occasion was the Prince of Schwartzenburg; the
+principal guests the foreign sovereigns, gloating over the downfall of
+the capital.</p>
+
+<p>Louis XVIII, after removing the traces of this desolate invasion, took
+up his residence here on June 18, 1817, and in the following year built
+the stables and the lodgings of the Gardes du Corps. In 1820 the chapel
+begun by Marie Antoinette was finished and the Jardin du Trocadero
+constructed.</p>
+
+<p>Charles X in his brief reign built, on the site of an old Ursulin
+convent, further quarters intended for the personnel of the court. The
+ensemble ever took on an increasing importance. At this time were laid
+out the gardens between the cascades and the river, which, to some
+slight extent, to-day, suggest the former ample magnificence of the park
+as it faced upon the river. Leading through this lower garden was the
+Avenue Royale extending to the chateau.<span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span></p>
+
+<p>Saint Cloud for Charles X, in spite of his first interest therein, could
+have been but an unhappy memory for here he signed the abdication which
+brought about his fall. He left his palace at Saint Cloud on July 30,
+1830, at three o'clock in the morning, just as day was breaking through
+the mists of the valley. He succumbed, the last of the Bourbons, on the
+same spot on which Henri IV, as chief of the house, had first been
+saluted as king.</p>
+
+<p>Louis Philippe divided his time between Neuilly and Saint Cloud, and
+lent his purse and his enthusiasm to elaborating to a very considerable
+extent both the palace and its surroundings.</p>
+
+<p>Napoleon III made Saint Cloud his preferred summer residence, and was
+actually beneath the palace roof when the Prussian horde commenced its
+march on the capital of Clovis. He left Saint Cloud on July 27, to take
+personal command of the Army of the Rhine at Metz.</p>
+
+<p>As did Charles X, Napoleon III ceased to be sovereign of the French by
+enacting the final scene in his royal career in the Palais de Saint
+Cloud. Never again was the palace to give shelter to a French monarch.
+The empress left precipitately after the disaster of Woerth, and two
+months after the torch of arson made a ruin of all the splendour of the
+palace and its<span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span> dependencies. The inhabitants of the little city, which
+had grown up around the confines of the palace, fled in refuge to
+Versailles during the armistice. Scarcely an old house was preserved in
+all the town.</p>
+
+<p>Among the <i>chefs d'&oelig;uvres</i> of art which perished in the flames were
+the fine works of Mignard&mdash;above all, the magnificent Galerie
+d'Apollon&mdash;the paintings of LeMoyne, Nacret, Leloir, the marines of
+Joseph Vernet and innumerable objects of art which had been gathered
+together for the embellishment of Saint Cloud by the later monarchs.
+Some few treasures were saved by the care of the Crown Prince of
+Prussia, and some vases, chairs and statues were appropriated and packed
+off across the Rhine as the plunder of war.</p>
+
+<p>The park of Saint Cloud to-day contains nearly four hundred hectares,
+the public park and the "preserve." From it spreads out one of the
+loveliest panoramas in the neighbourhood of Paris, alleyed vistas
+leading seemingly to infinity, with a sprinkling of statues still
+flanking the Jardin du Trocadero.</p>
+
+<p>From the town one enters the park through a great iron gate from the
+Place Royale, or by the Avenue du Chateau, which lands one on the
+terraces where once stood the royal palace.<span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span></p>
+
+<div class="figcenter" style="width: 425px;">
+<img src="images/illus305.jpg" width="425" height="600" alt="The Cascades at Saint Cloud" title="" />
+<span class="caption"><i>The Cascades at Saint Cloud</i></span>
+</div>
+
+<p>From Ville d'Avray and from Sevres there are also entrances to the great
+park, while to the latter runs an avenue connecting the "preserve" of
+Saint Cloud with the wilder, more rugged Bois de Meudon.</p>
+
+<p>Actually the surroundings of Saint Cloud's great park are the least bit
+tawdry. Here and there are booths and tents selling trashy souvenirs,
+and even more unpleasant-looking articles of food and drink, while
+fringing the river, and some of the principal avenues approaching the
+cascade, are more pretentious restaurants and eating houses which are
+royal in name and their prices if nothing else.</p>
+
+<p>The cascades are for the masses the chief sight of Saint Cloud to-day.
+Historical souvenir plays little part in the minds of those who only
+visit a monumental shrine to be amused, and so the falling waters of
+Saint Cloud's cascade, like the gushing torrents of Versailles'
+fountains, are the chief incentives to a holiday for tens of thousands
+of small Paris shopkeepers who do not know that a royal palace was ever
+here, much less that it had a history.</p>
+
+<p>There is an upper and a lower cascade, an artificial water ingeniously
+tumbled about according to the conception of one Lepaute, an architect
+of the time of the reign of Louis XIV.</p>
+
+
+<p><span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span></p>
+
+<p>Mansart designed the architectural attributes of the lower cascade and
+scores considerably over his colleague. Circular basins and canals
+finally lead the water off to a still larger basin lower down where it
+spouts up into the air to a height of some forty odd metres at a high
+pressure. This is the official description, but it is hard to get up any
+sympathy or enthusiasm over the thing, either considered as a work of
+art or as a diversion. Frankly, then, Saint Cloud's chief charm is its
+site and its dead and half-forgotten history. The "Tramp Abroad" and
+"Rollo" and "Uncle George" knew it better than we, because in those days
+the palace existed in the real, whereas we take it all on faith and
+regret (sometimes) that we did not live a couple of generations ago.</p>
+
+<p>Bellevue, on the banks of the Seine, just before reaching Saint Cloud,
+owes its origin (a fact which the great restaurant of the Pavillon Bleu
+has made the most of in its advertisements), to a caprice of Madame de
+Pompadour. She liked the point of view (as do so many diners on the
+restaurant terrace to-day), and built a "<i>rendezvous-chateau</i>" on the
+hillside, a half-way house, as it were, where Louis XV might be at his
+ease on his journeyings to and from the capital.<span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span></p>
+
+<p>The Pompadour was able to borrow a force of eight hundred workmen from
+the king for as long as was necessary to carry out her ambitious
+projects at Bellevue and on November 25, 1750, she had a house-warming
+in her modest villa (demolished in 1794) and <i>pendit la cremaill&egrave;re</i>
+with a ceremony whose chief entertainment was the dancing of a ballet
+significantly entitled "L'Amour Architect."</p>
+
+<p>Neighbouring upon Saint Cloud is a whole battery of hallowed, historical
+spots associated with the more or less royal dwellings of the French
+monarchs and their favourites. It was but a comparatively short distance
+to Versailles, to Saint Germain, to Maintenon and to Rambouillet, and
+the near-by Louveciennes was literally strewn with the most charming
+country-houses, which, in many cases, kings paid for and made free use
+of, though indeed the accounts for the same may not have appeared in the
+public budgets, at least not under their proper names.</p>
+
+<p>At the summit of the hill which gives the town its name was a chateau
+belonging originally to Madame la Princesse de Conti, and opposite the
+railway station of to-day, with its prosaic and unlovely surroundings,
+was a magnificent property belonging to Mar&eacute;chal Magnan, and the
+Pavillon du Barry, built by the architect<span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span> Ledoux to the orders of Louis
+XV, who would provide a convenient nest in the neighbourhood of Saint
+Cloud for his latest favourite. To-day the pavilion exists in name,
+somewhat disfigured to be sure, but still reminiscent of its former
+rather garish outlines, so on the whole it cannot be said to have
+suffered greatly from an esthetic point of view. The property came
+finally to be included as a part of the estate of Pierre Laffitte,
+though still known, as it always has been, as the Pavillon du Barry.<span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV</h2>
+
+<h3>VERSAILLES: THE GLORY OF FRANCE</h3>
+
+<p>
+<span style="margin-left: 3em;">"<i>Glorieuse, monumentale et monotone</i></span><br />
+<span style="margin-left: 3em;"><i>La fa&ccedil;ade de pierre effrite, au vent qui passe</i></span><br />
+<span style="margin-left: 3em;"><i>Son chapiteau friable et sa guirlande lasse</i></span><br />
+<span style="margin-left: 3em;"><i>En face du parc jaune ou s'accoude l'automne.</i></span><br />
+<span style="margin-left: 3em;"><i>* &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   *  &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;   * &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;    *</i></span><br />
+<span style="margin-left: 3em;"><i>Mais le soleil, aux vitres d'or qu'il incendie</i></span><br />
+<span style="margin-left: 3em;"><i>Y semble rallumer interieurement</i></span><br />
+<span style="margin-left: 3em;"><i>Le sursaut, chaque soir de la Gloire engourdi.</i>"</span><br />
+</p>
+
+
+<p>These lines of Henri de R&eacute;gnier explain the aspect of the Versailles of
+to-day better than any others ever written.</p>
+
+<p>Versailles is a medley of verdure, a hierarchy of bronze and a forest of
+marble. This is an expression full of anomalies, but it is strictly
+applicable to Versailles. Its waters, jets and cascades, its monsters,
+its Tritons and Valhalla of marble statues set off the artificial
+background in a manner only to be compared to a stage setting&mdash;a
+magnificent stage setting, but still palpably unreal.</p>
+
+<p>Yes, Versailles is sad and grim to-day; one<span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span> hardly knows why, for its
+memories still live, and the tangible evidences of most of its great
+splendour still stand.</p>
+
+<p>
+<span style="margin-left: 3em;">"<i>Voici tes ifs en cone et tes tritons joufflus</i></span><br />
+<span style="margin-left: 3em;"><i>Tes jardins compos&eacute;s o&ugrave; Louis ne vient plus,</i></span><br />
+<span style="margin-left: 3em;"><i>Et ta pompe arborant les plumes et les casques.</i>"</span><br />
+</p>
+
+<p>It is not possible to give here either an architectural review or a
+historical chronology of Versailles; either could be made the <i>raison
+d'&ecirc;tre</i> for a weighty volume.</p>
+
+<p>The writer has confined himself merely to a more or less correlated
+series of patent facts and incidents which, of itself, shows well the
+futility of any other treatment being given of a subject so vast within
+the single chapter of a book.</p>
+
+<p>The history of Versailles is a story of the people and events that
+reflected the glory and grandeur of the Grand Monarque of the Bourbons
+and made his palace and its environs a more sublime expression of
+earthly pomp than anything which had gone before, or has come to pass
+since.</p>
+
+<p>Versailles, after its completion, became the perfect expression of the
+decadence and demoralization of the old r&eacute;gime. It can only be compared
+to the relations between du Barry and the young Marie Antoinette, who
+was all that was contrary to all for which the former stood.<span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span></p>
+
+<p>That the court of Louis XV was artificially brilliant there is no doubt.
+It was this that made it stand out from the sombre background of the
+masses of the time. It was a dazzling, human spectacle, and Versailles,
+with its extravagant, superficial charms, carried it very near to the
+brink of ruin, though even in its most banal vulgarities there was a
+certain sense of ambitious sincerity. The people of the peasant class
+lived as animals, "black, livid and scorched by the sun." The sense of
+all this penetrated readily even to Versailles, so that La Pompadour or
+Louis, one or the other of them, or was it both together, cried out
+instinctively: "<i>Apres nous le deluge.</i>"</p>
+
+<p>The intricacies of the etiquette of the daily life of the king, his
+follies and fancies, made the history of Versailles the most brilliant
+of that of the seventeenth and eighteenth centuries&mdash;certainly it was
+the most opulent. The manners of the time were better than the morals,
+and if good taste in art and architecture had somewhat fallen there is
+no doubt but that a charming fantasy often made up for a lack of
+estheticism.</p>
+
+<p>The story of the palace, the park, the king and his court are so
+interwoven that no <i>r&eacute;sum&eacute;</i> of the story of one can ignore that of any
+of the others. The king and court present themselves against this
+background with an intimacy and a clearness<span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span> which is remarkable for its
+appeal to one's curiosity. It is a long, long day of life which begins
+with the <i>petit lever</i> and only ends with the <i>grand coucher</i>.</p>
+
+<p>If there was ever a Castle of Indolence and Profligacy it was
+Versailles, though indeed it is regarded as the monarchy's brilliant
+zenith. The picture is an unforgetable one to any who have ever read its
+history or seen its stones.</p>
+
+<p>In the year 1650, Martial de Lomenci, one of the ministers of Charles
+IX, was the Seigneur of Versailles, but at the will of Catherine de
+M&eacute;dici he was summarily strangled that she might get possession of the
+property and make a present of it to her favourite, Albert de Gondi,
+Mar&eacute;chal de Retz.</p>
+
+<p>About 1625 Louis XIII had caused a small hunting pavilion to be built
+near by and, by degrees, acquiring more land took it into his head to
+erect something more magnificent in the way of a country-house, though
+the real conception of a suburban Paris palace only came with Louis XIV.</p>
+
+<p>Levau, the latter's architect, made the necessary alterations to the
+structure already existing, and little by little the more magnificent
+project known in its completed form to-day was evolved. War not being
+actually in progress, or imminent, great bodies of soldiery were set at
+work with<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span> pick and shovel, and at one time thirty thousand had laid
+aside their sabres and muskets for the more peaceful art of
+garden-making under the direction of Le Notre.</p>
+
+<p>In three decades the sum total of the chief roll of expenses of the
+palace and its dependencies reached eighty-one million, one hundred and
+fifty-one thousand, four hundred and fourteen <i>livres</i>, nine <i>sols</i> and
+two <i>deniers</i>. It is perhaps even more interesting to know that of this
+vast sum more than three millions went for marble, twenty-one millions
+for masonry, two and a half millions for the rougher woodwork and a like
+sum for marquetry. Other additional "trifling" embellishments of
+Versailles and the Trianon during the same period counted up another six
+million and a half.</p>
+
+<p>The expense of these works was enormous on all sides. Water being
+required for the purpose of supplying the fountains it was proposed that
+the waters of the Eure should be turned from their original bed and made
+to pass through Versailles, and the enterprise was actually begun.
+Beyond the gardens was formed the Little Park, about four leagues
+around, and beyond this lay the Great Park, measuring twenty leagues
+around and enclosing several forest villages. The total expenses of
+these works may never have been<span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span> exactly known, but they must have been
+immense, that is certain, and have even been estimated at as much as one
+billion francs. The works were so far completed in 1664 that the first
+Versailles f&ecirc;te was given to consecrate the palace. In honour of this
+event Moli&egrave;re composed "La Princesse d'Elide."</p>
+
+<p>The improvements, however, were continued, and in 1670, Levau, dying,
+was succeeded by his nephew, Jules Hardouin Mansart, who wished to
+destroy the chateau of Louis XIII and erect one uniform building. Louis
+XIV, out of respect to his father, would not allow Mansart's project to
+be carried out and therefore alterations were only made in the court by
+surrounding it on the western side with the magnificent buildings now
+forming the garden front. The southern wing was subsequently added for
+the accommodation of the younger members of the royal family. In 1685
+the northern wing was erected to meet the requirements of the attach&eacute;s
+of the court. The chapel was commenced in 1699 and finished in 1710.</p>
+
+<p>Louis XIV took up his residence in the palace in 1681 with Madame de
+Montespan, and, thirty-five years afterwards, died there, the reigning
+favourite then being Madame de Maintenon. During this time Versailles
+was the theatre of<span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span> many extraordinary scenes. Louis XV was born here
+but did not take up his residence here until after he was of age. Here
+it was that his favourites Madame de Chateauroux, Madame de Pompadour
+and Madame du Barry found themselves most at home. It was under the
+direction of this monarch that the theatre was built in the northern
+wing, and was formally opened on the occasion of the marriage of the
+dauphin, Louis XVI, in 1770.</p>
+
+<p>Towards the end of the reign of Louis XV a new wing and pavilion were
+added on the northern side of the principal court, and it was proposed
+to build across the court a new front in the same uniform style. The
+idea could not be carried out in consequence of the troublous times of
+Louis XVI and the enormous estimated expense. The Revolution intervened
+and Versailles remained closed until it was reopened by the first
+Napoleon, who, however, was unable to take up his residence in it on
+account of his frequent campaigns afield.</p>
+
+<p>At the Restoration Louis XVIII, as the representative of the ancient
+monarchy, wished to make Versailles the seat of the court, but was
+deterred from doing so by the appalling previous expense. During the
+reigns of both Napoleon and Louis XVIII considerable sums were expended
+in its refurbishing so that it was not wholly<span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span> a bygone when finally the
+French authorities made of it, if not the chief, at least the most
+popular <i>monument historique</i> of all France.</p>
+
+<p>And yet the aspect of Versailles is sadly wearying. To-day Versailles is
+lonely; one is haunted by the silence and the bareness, if not actual
+emptiness. Only once in seven years does the old palace take on any air
+of the official life of the Republic, and that is when the two
+legislative bodies join forces and come to Versailles to vote for the
+new president. For the rest of the time it is deserted, save for the
+guardians and visitors, a memory only of the splendours imagined and
+ordained by Louis XIV.</p>
+
+<p>For nearly a century the master craftsmen of a nation conspired to its
+beatification, and certainly for gorgeousness and extravagance
+Versailles has merited any encomiums which have ever been expended upon
+it. It was made and remade by five generations of the cleverest workers
+who ever lived, until it took supreme rank as the greatest storehouse of
+luxurious trifles in all the world.</p>
+
+<p>One wearies though of the straight lines and long vistas of Versailles,
+the endless repetition of classical motives, which, while excellent,
+each in its way, do pall upon one in an inexplicable fashion. It
+possesses, however, a certain dignity and grace in every line. This is a
+fact which<span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span> one can not deny. It is expressive of&mdash;well, of nothing but
+Versailles, and the part it played in the life of its time.</p>
+
+<p>The millions for Versailles were obtained in ways too devious and
+lengthy to follow up here. Even Louis XIV began to see before the end
+the condition into which he had led the nation, though he punished every
+one who so much as hinted at his follies. Vauban, "the hero of a hundred
+sieges," published a book on the relations between the king and court
+and the tax-paying masses and was disgraced forever after, dying within
+a few months of a broken heart that he should have been so impotent in
+attempting to bring about a reform.</p>
+
+<p>The life of the king at Versailles had little of privacy in it. From his
+rising to his going to bed he was constantly in the hands of his valets
+and courtiers, even receiving ambassadors of state while he was still
+half hidden by the heavy curtains of his great four-poster. They had
+probably been waiting hours in the Salon de l'&OElig;l de B&oelig;uf before
+being admitted to the kingly presence.</p>
+
+<p>It was at this period that Michael Chamillard, the Minister of War,
+introduced billiards into France by the way of Versailles. He played
+with Louis XIV and pleased him greatly, but Chamillard<span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span> was no
+statesman, as history and the following lines from his epitaph point
+out.</p>
+
+<p>
+<span style="margin-left: 3em;">"<i>Ci git le fameux Chamillard</i></span><br />
+<span style="margin-left: 3em;"><i>De son Roy le pronotaire</i></span><br />
+<span style="margin-left: 3em;"><i>Qui fut un heros au billard</i></span><br />
+<span style="margin-left: 3em;"><i>Un zero dans le Minist&egrave;re.</i>"</span><br />
+</p>
+
+<p>This apartment of the &OElig;il de B&oelig;uf was the ancient Cabi du Conseil.
+It is a wonderfully decorated apartment, and its furnishings, beyond
+those which are actually built into the fabric, are likewise of a
+splendour and good taste which it is to be regretted is not everywhere
+to be noted in the vast palace of Louis XIV. The garnishings of the
+chimney-piece alone would make any great room interesting and well
+furnished, and the great golden clock, finely chiselled and brilliantly
+burnished, is about the most satisfactory French clock one ever saw,
+marking, as it does, in its style, the transition between that of Louis
+XIV and Louis XV.</p>
+
+<p>Versailles, in many respects, falls far short to-day of the ideal; its
+very bigness and bareness greatly detract from the value of the historic
+souvenir which has come down to us. Changes could undoubtedly be made to
+advantage, and to this point much agitation has lately been directed,
+particularly in cutting out some of the<span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span> recently grown up trees which
+have spoiled the classic vistas of the park, and the removal of those
+ugly equestrian statues which the Monarchy of July erected.</p>
+
+<p>Versailles only came under Napoleon's cursory regard for a brief moment.
+He hardly knew whether he would care to make his home here or not, but
+ordered his architects to make estimates for certain projects which he
+had conceived and when he got them was so staggered at their magnitude
+that he at once threw over any idea that he may have had of making it
+his dwelling.</p>
+
+<p>The Revolution had stripped the palace quite bare; no wonder that the
+emperor balked at the cost of putting it in order. Napoleon may have had
+his regrets for he made various allusions to Versailles while exiled at
+Saint Helena, but then it was too late.</p>
+
+<p>Louis Philippe took a matter-of-fact view of the possible service that
+the vast pile might render to his family and accordingly spent much
+money in a great expanse of gaudy wall decorations which are there
+to-day, thinking to make of it a show place over which might preside the
+genius of his sons.</p>
+
+<p>These acres of meaningless battle-pieces, Algerian warfare and what not
+are characteristic<span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span> of the "Citizen-King" whose fondness for red plush,
+green repp and horsehair sofas was notable. What he did at Versailles
+was almost as great a vandalism against art as that wrought by the
+Revolution.</p>
+
+<p>Last scene of all:&mdash;Under Lebrun's magnificent canopied ceiling, where
+the effigy of Louis XIV is being crowned by the Goddess of Glory, and
+the German eagle sits on a denuded tree trunk screaming in agony and
+beating his wings in despair, William of Prussia was proclaimed Emperor
+of United Germany. It was almost as great an indignity as France ever
+suffered; the only greater was when the Prussians marched through the
+Arc de Triomphe de l'&Eacute;toile. That was, and is, the Frenchman's&mdash;the
+Parisian's, at all events&mdash;culminating grief.</p>
+
+<p>The apartment referred to is the Grand Galerie des Glaces (or Galerie
+Louis XIV), which is accredited as one of the most magnificently
+appointed rooms of its class in all the world. It is nearly two hundred
+and fifty feet in length, nearly forty feet in width, and forty-three
+feet in height. It is lighted by seventeen large arched windows, which
+correspond with arched niches on the opposite wall filled with
+mirrors&mdash;hence the name.</p>
+
+<p>Sixty Corinthian columns of red marble with<span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span> bases and capitals of gilt
+bronze fill up the intervening wall spaces. The vaulted ceiling by
+Lebrun is divided into eighteen small compartments and nine of much
+larger dimensions, in which are allegorically represented the principal
+events in the history of Louis XIV, from the Peace of the Pyrenees to
+that of Nymeguen.</p>
+
+<p>It was in this splendid apartment that Louis XIV displayed the grandeur
+of royalty in its highest phase and such was the luxury of the times,
+such the splendour of the court, that its immense size could hardly
+contain the crowd of courtiers that pressed around the monarch.</p>
+
+<p>Several splendid f&ecirc;tes took place in this great room, of which those of
+the marriage of the Duc de Bourgogne in 1697 and that given on the
+arrival of Marie Antoinette were the most brilliant.</p>
+
+<p>Following are three pen-pictures of this historic palace.</p>
+
+<p><span class="smcap">The Versailles of Long Ago.</span> It was to Versailles that the <i>Grand Roi</i>
+repaired after his stern chase of the Spaniards across Flanders; through
+the wood of Saint Germain and over those awful cobblestones which
+Parisians know so well to-day rolled the gilded <i>carrosse</i> of the king.
+He had already been announced by a runner who had also brought news of
+the latest victory. Courtiers and populace alike crowded<span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span> the streets of
+the town in an effort to acquire a good place from which to see the
+arrival of the king. Intendants and servitors were giving orders on all
+sides, frequently contradictory, and gardeners were furbishing up the
+alleyed walks and flower beds in readiness for <i>Sa Majest&eacute; Louis
+Quatorze</i> and all his little world of satellites. A majestic
+effervescence bubbled over all, and the <i>bourgeoisie</i> enjoyed itself
+hugely, climbing even on roof-tops and gables in the town without the
+palace gates.</p>
+
+<p>The <i>Roi Soleil</i> came at last to his "well-beloved city of Versailles."
+"He arrived in a cloud of golden dust," said a writer of the time, and
+any who have seen Versailles blazing and treeless in the middle of a
+long, hot summer, will know what it was like on that occasion.</p>
+
+<p>Cannons roared, and the sound of revelry and welcoming joy was
+everywhere to be heard.</p>
+
+<p><span class="smcap">The Versailles of Yesterday.</span> The lugubrious booming of cannons came
+rolling over the meanderings of the Seine from the capital. The
+hard-heads of Paris would understand nothing; they would make flow
+never-ceasing rivers of blood. The national troops were well-nigh
+impotent; it was difficult to shoot down your own flesh and blood at any
+time; doubly so when your native land has not yet been evacuated by a
+ven<span class='pagenum'><a name="Page_258" id="Page_258">[Pg 258]</a></span>turesome enemy. It was the time of the Commune. Traffic at
+Versailles was of that intensity that circulation was almost impossible.
+In spite of a dismal April rain the town was full of all sorts and
+conditions of men. The animation of the crowd was feverish, but it was
+without joy. A convoy of prisoners passed between two lines of soldiers
+with drawn bayonets. They were Frenchmen, but they were Communards. It
+was but a moment before they were behind the barred doors of the
+barracks which was to be their prison, packed like a troop of sheep for
+the slaughter. Versailles itself, the palace and the town, were still
+sad. The rain still fell in torrents.</p>
+
+<p><span class="smcap">The Versailles of To-day.</span> Roses, begonias, geraniums, the last of a long
+hot summer, still shed their fragrant memories over the park of
+Versailles. In the long, sober alleys a few leaves had already dropped
+from the trees above, marking the greensward and the gravel like a
+<i>tapis d'orient</i>, red and green and gold.</p>
+
+<p>Flora and Bacchus in their fountains seemed less real than ever before,
+more sombre under the pale, trickling light through the trees. A few
+scattered visitors were about, sidling furtively around the Trianon, the
+Colonnade and the <i>Bosquet d'Apollon</i>; and the birds of the wood were
+even now bethinking of their winter pil<span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span>grimage. Versailles was still
+sad. The last rays of the setting sun shot forth reflected gold from the
+windows of the chateau and soon the silver blue veil of a September
+twilight came down like a curtain of gauze.</p>
+
+<p>Versailles, the Versailles of other days, is gone forever. Who will
+awaken its echoes in after years? When will the Trianon again awake with
+the coquetries of a queen? When will the city of the <i>Roi Soleil</i> come
+again into its own proud splendour?</p>
+
+<p>The sun has set, the great iron gates of the courtyard are closed, the
+palace and all therein sleeps.</p>
+
+<p>"<i>Allon nous en d'ici: laissons la place aux ombres.</i>"<span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI</h2>
+
+<h3>THE GARDENS OF VERSAILLES AND THE TRIANONS</h3>
+
+
+<p>Versailles without its court of marble, its fountains, its gardens and
+its park, and the attendant Grand and Petit Trianons, would hardly have
+the attraction that it has to-day.</p>
+
+<p>The ensemble is something of more vast and varied extent than is to be
+seen elsewhere, though its aspect has somewhat changed from what it was
+of old, and the crowds of Sunday and holiday visitors give the courts
+and alleyed walks somewhat the aspect of a modern amusement resort.</p>
+
+<p>The gardens of Versailles were but the framing of a princely dwelling
+created to respond to the requirements of a court which was attempting
+to do things on a grand scale. Everything was designed with most
+magnificent outlines; everything was royal, in all verity&mdash;architecture,
+garden-making, f&ecirc;tes, receptions and promenades. What setting, then,
+could have been more appropriate to the life of the times?</p>
+
+<p>Versailles, the town, had never prospered,<span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span> and has never proved
+sufficiently attractive to become a popular suburb; and, though to-day
+it passed the mark of half a hundred thousand population, it never would
+have existed at all had it not been for the palace of Louis XIV.</p>
+
+<p>Were it not for the palace and its attributes, Versailles would have
+absolutely no memories for visitors, except such as may have lunched
+well at the Hotel des Reservoirs or the Hotel du Trianon. That is not
+everything, to be sure; but it is something, even when one is on an
+historic pilgrimage.</p>
+
+<p>Even in the day of Louis XVI the popular taste was changing and
+Versailles was contemptuously referred to as a world of automota, of
+cold, unfeeling statuary and of Noah's Ark trees and forests. There was
+always a certain air of self-satisfaction about it, as there is, to-day,
+when the Parisian hordes come out to see the waters play, and the
+sight-seers marvel at the mock splendour and the scraps of history doled
+out for their delectation by none-too-painstaking guardians.</p>
+
+<p>In spite of all this, no sober-minded student of art or history will
+ever consider Versailles, the palace and the park, as other than a
+superb and a spectacular demonstration of the taste of the times in
+which it was planned, built and lived in.<span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span></p>
+
+<p>Versailles was begun in 1624 by Louis XIII, who built here a humble
+hunting-lodge for the disciples of Saint Hubert of whom he was the royal
+head. So humble an erection was it that the monarch referred to it
+simply as a "<i>petite maison</i>" and paid for it out of his own pocket, a
+rare enough proceeding at that epoch.</p>
+
+<p>The critical Bassompierre called it a "<i>chetif chateau</i>," and
+Saint-Simon referred to it as a "house of cards." Manifestly, then, it
+was no great thing. It was, however, a comfortable country-house,
+surrounded by a garden and a more ample park.</p>
+
+<p>It was not Lemercier, the presiding genius of the Louvre at this time,
+but an unknown by the name of Le Roy, whom Louis XIII chose as his
+architect.</p>
+
+<p>Boyceau traced the original <i>parterres</i> with a central basin at a
+crossroads of two wide avenues. Each of the four compartments thus made
+was ornamented with <i>broderies</i> and trimmed hedges, and the open spaces
+were ingeniously filled with parti-coloured sands, or earth. A
+<i>parterre</i> of flowers immediately adjoined the palace and rudimentary
+alleys and avenues stretched off towards the wood. Although designed by
+Boyceau, this work was actually executed by his nephew, Jacques de
+Menours, who, with diffi<span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span>culty, collected his pay. His books of account
+showed that in five years, from 1631 to 1636, he had drawn but once a
+year a sum varying from fifteen hundred to four thousand <i>livres</i> while
+in the same period the king had spent on the rest of the work at
+Versailles two hundred and thirty-eight thousand <i>livres</i>, thirty-two
+<i>sols</i>, six <i>deniers</i>, nearly one million one hundred thousand francs of
+the money of to-day.</p>
+
+<p>The first of the outdoor embellishments of the palace at Versailles is
+the great Cour Royale, or the Cour d'Honneur, which opens out behind the
+long range of iron gates facing upon the Place d'Armes. At the foot of
+this entrance court is an extension called the Cour de Marbre. This Cour
+de Marbre, on January 5, 1757, was the scene of the infamous attack on
+Louis XV by Damiens, just as the king was starting out for the Trianon.</p>
+
+<p>A thick redingote saved the king's life; but for "this mere pin-prick,"
+according to Voltaire, the monarch went immediately to bed, and five
+times in succession sought absolution for his sins. Sins lay heavy even
+on royal heads in those days.</p>
+
+<p>Damiens was but a thick-witted, superstitious valet, who, more or less
+persecuted by the noble employers with whom he had been in service<span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> at
+various times, sought to avenge himself, not on them, but on their king,
+as the figurehead of all that was rotten in the social hierarchy. Louis,
+heretofore known as the "Bien Aim&eacute;," had become suddenly unpopular
+because of the disastrous war against England and Germany, and his
+prodigal dissipation of public moneys.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus331.jpg" width="650" height="360" alt="Cour de Marbre, Versailles" title="" />
+<span class="caption"><i>Cour de Marbre, Versailles</i></span>
+</div>
+
+<p>Stretching out behind the palace are the famous gardens, the
+<i>parterres</i>, the <i>tapis vert</i>, the fountains and the grand canal, with
+the park of the Trianons off to the right.</p>
+
+<p>Good fortune came to Louis XIV when he found Andr&eacute; Le Notre, for it was
+he and no other who traced the general lines of the garden of the
+Versailles which was to be. He laid a generous hand upon the park and
+forest which had surrounded the manor of Louis XIII, and extended the
+garden to the furthermost limits of his ingenuity. Modifications were
+rapid, and from 1664 the <i>parterres</i> and the greensward took on entirely
+new forms and effects. The Parterre des Reservoirs became the Parterre
+du Nord, and an alley of four rows of lindens enclosed the park on all
+sides. The Parterre &agrave; Fleurs, or the Jardin du Roy, between the chateau
+and the Orangerie, was laid out anew.</p>
+
+<p>By the following year the park began to take<span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span> on the homogeneity which
+it had hitherto lacked. The great Rondeau, as it was called, and which
+became later the Bassin du Dragon, was excavated, and the Jardin Bas, or
+the Nouveau Parterre, with an oval depression, was also planned.</p>
+
+
+
+<p>At one end of the park was the celebrated Menagerie du Roy, where the
+rare and exotic animals collected by the monarch had "a palace more
+magnificent than the home of any other dumb animals in the world." This
+was the first period of formal garden construction at Versailles, and it
+was also the period when the first great impetus was given to sculptural
+decoration.</p>
+
+<p>In 1679, following a journey in Italy, Le Notre took up again the work
+on the gardens at Versailles, devoting himself to the region south of
+the palace which hitherto had been ignored. This was Le Notre's most
+prolific period.</p>
+
+<p>The creations at Versailles can be divided into two distinct epochs,
+that before 1670 and that coming after. After Le Notre's generous
+design, the king and queen were seemingly never satisfied with the
+endless plotting and planting which was carried on beneath the windows
+of the palace, and in many instances changed the colour schemes and even
+the outlines of Le Notre's original conceptions.<span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span></p>
+
+<p>The Versailles of to-day is no longer the Versailles of Louis XIII, so
+far as the actual disposition of details goes. Then there was very
+little green grass and much sand and gravel, a scheme of decoration
+which entered largely into the seventeenth century garden. This refers
+principally to the general effect, for Le Notre made much use of the
+enclosing battery of lindens, chestnuts and elms of a majestic and
+patriarchal grandeur which have since been cut and replaced by smaller
+species of trees, or not replaced at all.</p>
+
+<p>No sooner were the ornamental gardens planned at Versailles than the
+Potager du Roy, or fruit and vegetable garden, was created. This same
+garden exists to-day with almost its former outlines. Here a soil
+sufficiently humid, and yet sufficiently well drained, contributed not a
+little towards the success of this most celebrated of all kitchen
+gardens the world has known.</p>
+
+<p>The work of installing a further system of artificial drainage was
+immediately begun, and the Eaux des Suisses was created, to take the
+place of a former stagnant pool near by. Undoubtedly it was a stupendous
+work, like all the projects launched with regard to Versailles, but,
+like the others, it was brought to a speedy and successful conclusion.
+The details of the history<span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span> of this royal vegetable garden are fully set
+forth in a work published in 1690 by the son of the designer, the Abb&eacute;
+Michel de la Quintinye, in two bulky volumes. "It was meet that a royal
+vegetable garden should have been designed by a 'Gentleman Gardener,'"
+said the faithful biographer in his foreword, and as such the man and
+the work are to be considered here.</p>
+
+<p>The work was accomplished by the combined efforts of a gracious talent
+and the expenditure of much money, put at La Quintinye's disposition by
+his royal master, who had but to put his hand deep into the coffers of
+the royal treasury to draw it forth filled with gold. Critics have said
+that La Quintinye's ability stopped with the preparation of the soil,
+and with the design of the garden, rather than with the actual
+cultivation, but at all events it was he who made the garden possible.</p>
+
+<p>La Quintinye adopted Arnauld d'Andilly's method of planting fruit trees
+<i>en espalier</i> by training them against a wall-like background, and to
+accomplish this divided the garden plot, which covered an area of eight
+hectares (twenty acres), into a great number of subdivisions enclosed by
+walls, in order to multiply to as great an extent as possible the
+available space to be used for the <i>espaliers</i>. Again, these same walls<span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span>
+served to shelter certain varieties which were planted close against
+them. If this Potager du Roy was not actually the first garden of its
+class so laid out, it was certainly one of the most extensive and the
+most successful up to that time.</p>
+
+<p>The great terraces of at least two metres in width surrounded the
+central garden, leaving a free area for the latter which approximated
+three hectares.</p>
+
+<p>These terraces were divided into twenty-eight compartments, forming nine
+distinct varieties of gardens.</p>
+
+<p>The celebrated gardener of Louis XIV sought not only to obtain fruits
+and vegetables of a superior quality and an abundant quantity, but was
+the first among his kind to produce early vegetables, or <i>primeurs</i>, in
+any considerable quantity, and, by a process of forced culture, he was
+able to put upon the table of the monarch asparagus in December, lettuce
+in January, cauliflower in March and strawberries in April. All these
+may be found at the Paris markets to-day, and at these seasons, but the
+growing of <i>primeurs</i> for the Paris markets has become a great industry
+since the time it was first begun at Versailles.</p>
+
+<p>Of asparagus La Quintinye said, "It is a<span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span> vegetable that only kings can
+ever hope to eat."</p>
+
+<p>The Potager du Roy was begun in 1678, and completed in 1683. It cost,
+all told, one million one hundred and seventy thousand nine hundred and
+eighty-three <i>livres</i> of which four hundred and sixty-seven thousand
+three hundred and sixty-four went for constructions in brick and stone,
+walls, enclosures and drains. Its annual maintenance (1685) amounted to
+twenty thousand nine hundred and ninety-nine <i>livres</i>. The effort proved
+one of great benefit to its creator, for La Quintinye, at the completion
+of this work, received further commissions of a like nature from the
+Prince de Cond&eacute;, the Duc de Montansier, Colbert, Fouquet and others.</p>
+
+<p>So great a marvel was this vegetable garden at Versailles that it was
+the object of a pilgrimage of the Doge of Venice in 1685, and of the
+Siamese ambassadors in the following year. The garden has been preserved
+as an adjunct to Versailles up to the present day. For two centuries its
+product went to the "Service de Bouche" of the chief of state, that is,
+the royal dinner table; but in 1875 the Minister of Agriculture
+installed there the French National Horticultural College, which to-day,
+with a widened scope, has admitted ornamental plants and trees to this
+famous garden. Nevertheless the general outlines have been<span class='pagenum'><a name="Page_270" id="Page_270">[Pg 270]</a></span> preserved,
+though certain of the terraces have disappeared, as well as many of the
+walls of the original enclosure, thus reducing the number of garden
+plots; in fact but sixteen distinctly defined gardens remain, including
+the Clos aux Asperges.</p>
+
+<div class="figcenter" style="width: 349px;">
+<img src="images/illus339.jpg" width="349" height="600" alt="The Potager du Roy, Versailles" title="" />
+<span class="caption">The Potager du Roy, Versailles</span>
+</div>
+
+<p>The general lines of the garden design of Le Notre and Boyceau at
+Versailles are to be noted to-day, but if anything the maintenance of
+the gardens is hardly the equal of what it was in the time of Louis XIV
+and a seeming disaster has fallen upon Versailles as these lines are
+being written.</p>
+
+<p>The military authorities have set aside, as a site for an aerostation
+camp, some twenty-five acres of the park near Rocquencourt. This is one
+of the loveliest parts, shaded by magnificent trees which, presumably,
+will have to be sacrificed, since, if left standing, they would
+certainly interfere with maneuvering with military aeroplanes,
+dirigibles and balloons.</p>
+
+<p>At a time when deforestation is recognized to be one of the greatest
+dangers that menace a country's prosperity, one of its consequences
+being such inundations as those which recently devastated Paris and the
+Seine valley, it is regrettable that the forest surrounding Versailles
+should be depleted.</p>
+
+
+<p><span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span></p>
+
+<p>Furthermore, the realization of the project means a loss of revenue to
+the state which at present derives some sixty thousand francs a year
+from the farming lease of this portion of the park.</p>
+
+<p>Therefore, for material considerations, as well as because Versailles
+and its surroundings should be preserved intact as a noble relic of one
+of the grandest periods of French history, one of the most beautiful
+creations of French genius, the project attributed to the military
+authorities is short-sighted. To diminish the attractions of Versailles
+would certainly prove an unwise policy, as the stream of tourists, which
+is the chief source of profit to Versailles and its population, would
+inevitably be diverted to some other channel.</p>
+
+<p>Only a short time ago a Soci&eacute;t&eacute; des Amis de Versailles was created for
+the purpose of safeguarding its artistic and natural beauties. The
+government gave the organization its approbation and there is something
+delightfully ironical in the fact that the military authorities of the
+same government are planning to destroy what the society, fathered by
+the Minist&egrave;re des Beaux Arts, was formed to preserve.</p>
+
+<p>Another modern aspect of the park of Versailles was noted during the
+late winter when, after a sharp freeze, all the youth of Paris had<span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span>
+seemingly gone out to Versailles for the skating only to be met by a
+freshly-posted notice which read:</p>
+
+<p class="center">
+Defense<br />
+De Patiner Par<br />
+Arr&ecirc;t&eacute; du 17 Decembre, 1849
+</p>
+
+
+<p>These signs were posted here and there about the park, in the courtyard,
+on the postern gate, on trees, everywhere. The authorities were bound
+that there should be no flagrant violation of the order of 1849.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus343.jpg" width="650" height="449" alt="The Bassin de Latone, Versailles" title="" />
+<span class="caption"><i>The Bassin de Latone, Versailles</i></span>
+</div>
+
+<p>"You see," said one of the park guardians, "<i>c'est defendu</i>; but as we
+are only two and the crowd is very large we can do nothing." This was
+evident. Thousands overran the Grand Canal, which at its greatest depth
+was scarcely more than a yard to the bottom, and so, despite of
+monarchial decree, Republican France still skates on the ornamental
+waters of Versailles when occasion offers.</p>
+
+<p>"<i>N'oubliez pas le petit balayeur, s'il vous plait</i>," was as often heard
+as "<i>Allez vous-en</i>."</p>
+
+<p>On the whole it was rather a picturesque sight. A thick haze hung over
+the now white "Tapis Vert," and the nude figures of the Bassin d'Apollon
+were clothed in a mantle of snow, while the white-robed statues of the
+All&eacute;e Royale,<span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span> one could well believe, shivered as one passed.</p>
+
+
+
+
+<p>The fountains of Versailles, the "Grands Eaux" and "Petits Eaux," which
+shoot their jets in air "semi-occasionally" for the benefit of Paris's
+"good papas" and their children, are distinctly popular features, and of
+an artistic worth neither less nor greater than most garden accessories
+of the artificial order. The fact that it costs something like ten
+thousand francs to "play" these fountains seems to be the chief memory
+which one retains of them in operation, unless it be the crowds which
+make the going and coming so uncomfortable.</p>
+
+<p>The Orangerie lies just below the terrace of the Parterre du Midi, and a
+thousand or more non-bearing orange trees are scattered about. They are
+descendants of fifteenth century ancestors, it is claimed&mdash;but
+doubtfully.</p>
+
+<p>The great basin of water known as the Eaux des Suisses was excavated by
+the Swiss Guard of Louis XIV to serve the useful purpose of irrigating
+the Potager du Roy, and as a decorative effect of great value to that
+part of the garden upon which faces the fourteen-hundred-foot front of
+the palace.</p>
+
+<p>Still farther off towards the Bois de Satory, after crossing the Tapis
+Vert, lie the famous Bassins de Latone and Apollon, the Bassin du<span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span>
+Miroir and, finally, the Grand Canal, with one transverse branch leading
+to the Menagerie (now the government stud-farm) and the other to the
+Trianons.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus348.jpg" width="650" height="426" alt="The Fountain of Neptune, Versailles" title="" />
+<span class="caption"><i>The Fountain of Neptune, Versailles</i></span>
+</div>
+
+<p>The satellite palaces known as the Grand and Petit Trianons are, like
+the Palace of Versailles itself, of such an abounding historical
+interest that it were futile to attempt more than a mere intimation of
+their comparative rank and aspect.</p>
+
+<p>The rather sprawling, one-story, horseshoe-shaped villa built by Louis
+XIV for Madame de Maintenon, and known as the Grand Trianon, was an
+architectural conception of Mansart's.</p>
+
+<p>It is worth remarking that the Grand Trianon, to-day, is in a more
+nearly perfect state than it has been for long past, for the
+restorations lately made have removed certain interpolations manifestly
+out of place.</p>
+
+<p>It is due to M. de Nolhac, the Conservateur du Mus&eacute;e de Versailles, that
+this happy amelioration has been brought about and that Mansart's
+admirable work is again as it was in the days of Madame de Maintenon and
+those of the later Napoleon I.</p>
+
+
+
+<p>In spite of all this the Trianon of to-day is not what it was in the
+eighteenth century. "Madame de Maintenon," said de Musset,<span class='pagenum'><a name="Page_275" id="Page_275">[Pg 275]</a></span> "made of
+Versailles an oratory, but La Pompadour turned it into a boudoir." He
+also called the Trianon: "a tiny chateau of porcelain." It was, too, the
+boudoir of Madame de Montespan.</p>
+
+<p>Louis XV, too, built, or furnished, discreet boudoirs of this order on
+every hand. More than one great gallery in which his elders had done big
+things he divided and subdivided into minute apartments and papered the
+walls, or painted them, all colours of the rainbow, or hung them with
+silks or velvets.</p>
+
+<p>"Don't you think my little apartment shows good taste," he asked one day
+of the Comtesse de S&eacute;ran at Versailles.</p>
+
+<p>"Not at all," she replied, "I would much rather that the walls were hung
+in blue."</p>
+
+<p>That particular apartment was in rose, but, since blue was the favourite
+colour of the monarch, the reply was but flattering. The next time that
+his friend, the Comtesse, appeared on the scene the apartment had all
+been done over in blue.</p>
+
+<p>The monarch soon began to turn his attention to the gardens. Bowers,
+labyrinths and vases and statues were inexplicably mixed as in a maze.
+He began to have the "<i>gout pastoral</i>," his biographer has said, a vogue
+that Madame du Barry<span class='pagenum'><a name="Page_276" id="Page_276">[Pg 276]</a></span> and Marie Antoinette came in time to push to its
+limits.</p>
+
+<p>The king was too ready to admire all that was suggested, all that was
+offered, and the ultimate effect was&mdash;well, it was the opposite of what
+he hoped it to be, though doubtless he did not realize it.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus351.jpg" width="650" height="372" alt="Petit Trianon" title="" />
+<span class="caption">Petit Trianon</span>
+</div>
+
+<p>In the garden of the Grand Trianon is a great basin with a cascade
+flowing down over a sort of a high altar arrangement in red and white
+marble called the Buffet de l'Architecture, and evolved by Mansart. This
+architect certainly succeeded much better with his purely architectural
+conceptions than he did with interpolated decorative elements intended
+to relieve a formal landscape.</p>
+
+<p>The Petit Trianon, the pride of Louis XV, was designed by the architect
+Gabriel, and its reigning goddess was Marie Antoinette. Souvenirs of the
+unhappy queen are many, but the caretakers are evidently bored with
+their duties and hustle you through the apartments with scant ceremony
+that they may doze again undisturbed in their corners.</p>
+
+
+<p>The garden of the Petit Trianon is a veritable <i>Jardin Anglais</i>, that
+is, the decorative portion, where sweeps and curves, as meaningless as
+those one sees on banknotes and no more decora<span class='pagenum'><a name="Page_277" id="Page_277">[Pg 277]</a></span>tive, are found in
+place of the majestic lines of the formal garden when laid out after the
+French manner.</p>
+
+
+<div class="figcenter" style="width: 426px;">
+<img src="images/illus353.jpg" width="426" height="550" alt="" title="La Laiterie de la Reine" />
+</div>
+
+<p>The <i>Hameau</i>, where is the dairy where the queen played housewife and
+shepherdess, is just to the rear of this bijou palace and looks stagy
+and unreal enough to be the wings and back-drop of a pastoral play.</p>
+
+<p>Near Versailles was the Chateau de Clagny, with a garden laid out by Le
+Notre, quite the rival of many better known. Of it Madame de S&eacute;vign&eacute;
+wrote: "It is the Palais d'Armide; you know the manner of Le Notre; here
+he has done his best."</p>
+
+<p>The Couvent des Recollettes, just across the Bois de Satory, was built
+by Louis XIV out of<span class='pagenum'><a name="Page_278" id="Page_278">[Pg 278]</a></span> regard for the <i>religieux</i> whom he displaced from
+an edifice which stood upon a plot which was actually needed for the
+palace gardens. The Chateaux of Noisy and Molineaux were also affiliated
+with Versailles.</p>
+
+<p>The rest of the surroundings and accessories of Versailles are mere
+adjunctive details of those chief features here mentioned. To catalogue
+them even would be useless since they are all set down in the
+guidebooks.<span class='pagenum'><a name="Page_279" id="Page_279">[Pg 279]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII</h2>
+
+<h3>SAINT GERMAIN-EN-LAYE</h3>
+
+
+<p>Saint Germain has not the popularity of Versailles, nor the charm of
+Fontainebleau, but it is more accessible than either, and, if less known
+and less visited by the general mass of tourists, it is all the more
+delightful for that.</p>
+
+<p>Saint Germain, the chateau, the town and the forest, possess a
+magnificent site. Behind is a wooded background, and before one are the
+meanderings of the Seine which in the summer sunlight is a panorama
+which is to be likened to no other on earth. Across the river bottom run
+the great tree-lined roadways, straight as the proverbial flight of the
+arrow, while on the horizon, looking from the celebrated terrace, one
+sees to-day the silhouetted outline of Paris with the Tour Eiffel and
+the dome of the Sacr&eacute; C&oelig;ur as the culminating points.</p>
+
+<p>The town itself is ugly and ill-paved, and heavy-booted dragoons make a
+hideous noise as they clank along to and from the cavalry barracks all
+through the day and night. Neither<span class='pagenum'><a name="Page_280" id="Page_280">[Pg 280]</a></span> are scorching automobiles making
+their ways to Trouville and Dieppe over the "Route des Quarante Sous" a
+pleasant feature. One can ignore all these things, however, for what is
+left is of a superlative charm.</p>
+
+
+<div class="figcenter" style="width: 502px;">
+<img src="images/illus356tb.jpg" width="502" height="650" alt="" title="Saint Germain" />
+<br /><span class="link"><a href="images/illus356.jpg">View larger image</a></span>
+</div>
+
+<p>Saint Germain-en-Laye in the first stages of French history was but a
+vast extent of forest<span class='pagenum'><a name="Page_281" id="Page_281">[Pg 281]</a></span> which under Charlemagne came to the possession of
+the monks of the Abbaye de Saint Germain-des-Pr&eacute;s. The first royal
+palace here was built by King Robert in the tenth century, practically
+upon the site of the present edifice. In the eleventh century there came
+into being another royal dwelling, and in the twelfth century
+Louis-le-Gros built a chateau-fort as a protection to the royal
+residence and monastery. This did not prevent the Black Prince from very
+nearly burning them down on one of his bold raids, but by 1367, Charles
+V re-erected the "<i>castel</i>" of Saint Germain-en-Laye.</p>
+
+<p>The English, by coercion, induced a monk of a neighbouring establishment
+at Nanterre to deliver up a set of false keys by which the great gates
+of the castle were surreptitiously opened, and, for a time, the
+descendants of the Conqueror held possession.</p>
+
+<p>The establishment of Charles V in no way satisfying the artistic
+ambitions of Francis I, that monarch gave the task of reconstruction to
+the architect Pierre Chambiges, in 1539, preserving only the Saint
+Chapelle of Saint Louis and the donjon.</p>
+
+<p>The building must have gone forward with an extreme rapidity for at the
+architect's death, in 1544, it had reached nearly the level of the
+rooftop.<span class='pagenum'><a name="Page_282" id="Page_282">[Pg 282]</a></span></p>
+
+<p>Chambiges' successor was his son-in-law, Guillaume Guillain, who,
+without changing the primitive plan, completed the work in 1548.</p>
+
+<p>Saint Germain, above the first story, is essentially a construction of
+bricks, but the effect is even now, as Chambiges originally intended, an
+edifice with its main constructive elements of lower sustaining walls
+and buttresses of stone binding together the slighter fabric, or
+filling, above. Although it is Renaissance through and through, Saint
+Germain shows not the slightest reminiscence of anything Italian and
+must be considered entirely as an achievement of French genius.</p>
+
+<p>This edifice of Francis I was more a fortress than a palace in spite of
+its decorative features, and Henri II, desiring something more of a
+luxurious royal residence, began what the historians and savants know as
+the Chateau Neuf&mdash;the palace of to-day which stands high on the hill
+overlooking the winding Seine, to which seducing stream the gardens
+originally descended in terraces.</p>
+
+<p>Chiefly it is to Henri IV that this structure owes its distinction, for
+previously work went on but intermittently, and very slowly. Henri IV
+brought the work to completion and made the chateau his preferred and
+most prolonged<span class='pagenum'><a name="Page_283" id="Page_283">[Pg 283]</a></span> place of residence, as indeed did his successor.</p>
+
+<p>It is the Chateau Neuf of the time of Henri IV which is to-day known as
+the Palais de Saint Germain-en-Laye. Of the Vieux Chateau only some
+fragmentary walls and piles of d&eacute;bris, the Pavillon Henri IV, and, in
+part, the old royal chapel remain.</p>
+
+<p>Actually the structure of to-day includes that part of the Hotel du
+Pavillon Henri IV which is used as a restaurant.</p>
+
+<p>Henri IV and Louis XIII gave Saint Germain its first great <i>&eacute;clat</i> as a
+suburban place of sojourn, and from the comings and goings of the court
+of that time there gradually grew up the present city of twenty thousand
+inhabitants; not all of them of courtly manners, as one learns from a
+recollection of certain facts of contemporary modern history.</p>
+
+<p>During the days when Mazarin actually held the reins of state the court
+was frequently at Saint Germain. Louis XIV was born here, and until
+Versailles and Marly came into being he made it his principal dwelling.</p>
+
+<p>It was in one of the magnificent apartments, too, midway between the
+angle turrets of the fa&ccedil;ade, Louis XIII ended his unhappy existence in
+1642. His own private band of musicians played a "De Profundis" of his
+own composition to waft his soul on its long journey.<span class='pagenum'><a name="Page_284" id="Page_284">[Pg 284]</a></span></p>
+
+<p>The chroniclers describe one of the monarch's last conversations as
+follows: "When they transport my body to Paris after my soul has flown,
+Laporte, remember that place where the road turns under the hill; it is
+a rough road, Laporte, and will surely shake my bones sadly if the
+driver does not go slowly."</p>
+
+<p>Those who have journeyed out from Paris to Saint Germain by road in this
+later century will appreciate the necessity for the admonition.</p>
+
+<p>Louis XIV, unlike Louis XIII, detested Saint Germain beyond words,
+because the towers of the Abbaye de Saint Denis, where he was destined
+one day to be buried, were visible from the terrace. Louis XV was not so
+particular for he was so morbid that he even loved, as he claimed
+himself, the scent of new-made graves.</p>
+
+<p>The arrival of Anne d'Autriche and the royal family at Saint Germain
+during the war of the Fronde was one of the most dramatic incidents of
+the period. They had travelled half the night, coming from the Palais
+Royal only to find a palace awaiting them which was unheated and
+unfurnished though the time was mid-January. Always drear and gaunt it
+was immeasurably so on this occasion. Mazarin had made no provision for
+the queen's arrival; there, were neither beds, tables nor linen in their
+proper<span class='pagenum'><a name="Page_285" id="Page_285">[Pg 285]</a></span> places, no servants, no attendants of any kind, only the
+guardians of the palace. The queen was obliged to take rest from her
+fatigue on a folding camp bedstead, without covering of any kind. The
+princes fared no better, actually sleeping on the floor.</p>
+
+<p>There were plenty of mirrors and much gold gingerbread on the walls and
+ceilings, but no furniture. The personal belongings which the court had
+brought with them were few. No one had a change of clothing even; those
+worn one day were washed the next. However the queen good-naturedly
+smiled through it all. She called it "an escapade which can hardly last
+a week."</p>
+
+<p>All Paris was by this time crying "<i>Vive la Fronde</i>": "<i>Mort &agrave;
+Mazarin</i>": but it proved to be something more than a little affair of a
+week, as we now know.</p>
+
+<p>At this period, when Anne d'Autriche was practically a prisoner at Saint
+Germain, the picture made by the old chateau against its forest
+background was undeniably more imposing than that which one sees to-day.
+The glorious forest was not then hidden by rows of banal roof-tops, and
+the dull drabs of barracks and prisons.</p>
+
+<p>In the warm spring mornings the glittering<span class='pagenum'><a name="Page_286" id="Page_286">[Pg 286]</a></span> fa&ccedil;ade of the chateau was
+brilliant as a diamond against its setting, and the radiating avenues of
+the park leading from the famous terrace stretched out into infinite
+vistas that were most alluring. This effect, fortunately, is not wholly
+lost to-day.</p>
+
+<p>At night things were as idyllic as by day. The queen and her ladies,
+relieved of the dreary presence of the king who still remained at Paris,
+revelled in an unwonted freedom. Concerts, suppers and dances were the
+rule and moonlight cavalcades to the heart of the forest, or promenades
+on foot the length of the terrace, and by some romantically disposed
+couples far beyond, gave a genuine "begone, dull care" aspect to court
+life which was not at all possible in the capital.</p>
+
+<p>The following picture, taken from a court chronicle, might apply as well
+to-day if one makes due allowance for a refulgence of myriad lamps
+gleaming out Parisward as night draws in.</p>
+
+<p>"It is a rare moonlight night. The queen and her ladies have emerged
+late on the stately terrace of Henri IV which borders upon the forest
+and extends for nearly a league along the edge of the height upon which
+stands the chateau.</p>
+
+<p>"The queen and her brother-in-law, Gaston, Duc d'Orleans, have seated
+themselves some<span class='pagenum'><a name="Page_287" id="Page_287">[Pg 287]</a></span>what apart from the rest beside the stone balustrade
+which overlooks the steep descent to the plain below. Vineyards line the
+hillside and the Seine flows far beneath, the fertile river-bottom rich
+with groves and orchards, villas and gardens. Still more distant sweeps
+away the great plain wrapped in dark shadows punctuated here and there
+with great splotches of moonlight. Of the great city beyond (the Paris
+of to-day, whose myriad glow-worm lights actually do lend an additional
+charm) not a vestige is to be seen. Scarcely a lantern marks the
+existence of a living soul in the vast expanse below, but the moon, high
+in the heavens, plots out the entire landscape with a wonderful
+impressiveness, and the stars topping the forest trees to the rear and
+the heights which rise on the distant horizon lend their quota of
+romanticism, and, as if by their scintillations, mark the almost
+indiscernible towers of the old Abbey of Saint Denis to the left.</p>
+
+<p>"'Oh, what a lovely night,' said the queen to her companion. Again it is
+the old chronicler who speaks. 'Can the world ever appear so calm and
+peaceful elsewhere?'"</p>
+
+<p>This Terrasse de Henri IV, so called, is one of the most splendid and
+best-known terraces in Europe, and is noted for its extent as well<span class='pagenum'><a name="Page_288" id="Page_288">[Pg 288]</a></span> as
+for its marvellous point of view, the whole panorama Parisward being
+spread out before one as if on a map, a view which extends from the
+Chateau de Maisons on the left to the Aqueduct de Marly and the heights
+of Louveciennes on the right, including the Bois de Vesinet, Mont
+Valerian, Montmartre and the whole Parisian panorama as far as the
+Coteaux de Montmorency.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus366.jpg" width="650" height="400" alt="The Valley of the Seine, from the Terrace at Saint Germain" title="" />
+<span class="caption"><i>The Valley of the Seine, from the Terrace at Saint Germain</i></span>
+</div>
+
+<p>This terrace, too, was the project and construction of Le Notre in 1672.
+It is two and a half kilometres in length and thirty metres in width,
+upheld by a stone retaining wall which is surmounted by a balustrade. It
+extends from the Pavillon Henri IV to a gun battery well within the
+confines of the forest. Entrance from the precincts of the palace is by
+the great ornamental iron gateway known as the Grille Royale, from which
+an alleyed row of lindens leads to the heart of the forest.</p>
+
+<p>The record of another merry party at Saint Germain is that which
+recounts that summer evening when the king and court scuttled about the
+park enjoying themselves as only royalty can&mdash;when some one else pays
+the bills. The terrace, the gravelled walks and the alleyed paths of the
+forest all led to charming and discreet rendezvous.</p>
+
+
+
+<p>So preoccupied was every one on this particular<span class='pagenum'><a name="Page_289" id="Page_289">[Pg 289]</a></span> occasion that the
+merry-makers had hardly a thought for their king, who, left to his own
+devices, sought out four maids of honour gossiping in a bower, and,
+taking the mischief-loving Lauzan into his confidence, pried upon them
+in the ambush of the night. They were gossiping over the dancers at the
+ball of the night before when one of them proclaimed her fancy for the
+agility and grace of the king above all others. It was the first
+expression of "La Valli&egrave;re" since she had come timidly to court. The
+rest is an idyll which is found set forth in all the history books at
+considerable length, and at this particular moment it was a genuine
+idyll, for the king had not then become the debauched rou&eacute; that he was
+in later life.</p>
+
+<p>After Anne d'Autriche, Henriette, the widow of Charles I of England,
+found at Saint Germain a comfortable and luxurious refuge.</p>
+
+<p>From 1661 onward Louis XIV made frequent visits to Saint Germain and was
+so taken with the charms of the neighbourhood and the immediate site
+that he conjured six and a half million francs out of his Civil List, in
+addition to his regular stipend, for the upkeep of this palace alone.
+This was robbery: modern graft pales before this; candelabra by the
+pound and writing tables by the square yard were known before the days
+of machine politicians.<span class='pagenum'><a name="Page_290" id="Page_290">[Pg 290]</a></span></p>
+
+<p>James II of England, in 1688, found a hospitable refuge at Saint
+Germain, thanks to Louis XIV, and died within the palace walls in 1701,
+as did his wife, Maria d'Este, in 1718.</p>
+
+<p>Louis XV and Louis XVI gave Saint Germain scarce a thought, and under
+the Empire it became a cavalry school, and later, under the Restoration,
+sinking lower still, it merited only the denomination of a barracks. Its
+culminating fall arrived when it was turned into a penitentiary.</p>
+
+<p>Napoleon III, with finer instincts, here installed a museum, and
+restorations and rebuilding having gone on intermittently since that
+time the palace has now taken on a certain pretence to glory.
+Practically the palace in its present form is a restoration, not
+entirely a new building, but a rebuilding of an old one, first begun
+under the competent efforts of the architect Eugene Millet, who sought
+to re&euml;stablish the edifice as it was under Francis I. The great tower
+has been preserved but the corner pavilions of the period of Louis XIV
+have been demolished in accord with the carrying out of this plan.</p>
+
+<p>For forty years Saint Germain has been in a state of restoration, and
+like the restoration of Pierrefonds it has swallowed up fantastic sums.
+The western fa&ccedil;ade has been rebuilt from the chapel to the entrance
+portal and the last of<span class='pagenum'><a name="Page_291" id="Page_291">[Pg 291]</a></span> Mansart's pavilions, which he built to please
+either his own fancy or that of Louis XIV, have been demolished. Mansart
+himself made way with the old <i>tourelles</i> and the balustrade which
+rounded off the angles of the walls of the main buildings and
+substituted a series of heavy, ugly <i>maisonettes</i>, more like the
+bastions of a fortress than any adjunct to a princely dwelling.</p>
+
+<p>The courtyard of the chateau is curiously disposed; "so that it may
+receive the sun at all times," was the claim of its designer. It, too,
+has been brought back to the state in which it was originally conceived
+and shorn of its encumbering outhouses and odds and ends which served
+their purposes well enough when it was a barracks or a prison, but which
+were a desecration to anything called by so dignified a name as a
+chateau or a palace. This courtyard is to-day as it was when the lords
+and ladies in the train of Charles IX strolled and even gambolled
+therein.</p>
+
+<p>The Chapelle de Saint Louis (1240) is in every way remarkable,
+especially with respect to its great rose-window, which was found by
+Millet to have been walled up by Louis XIV.</p>
+
+<p>The military museum of to-day, which is enclosed by the palace walls,
+possesses a remarkable collection of its kind, but has no intimate lien
+upon the history of the palace.<span class='pagenum'><a name="Page_292" id="Page_292">[Pg 292]</a></span></p>
+
+<p>The <i>parterre</i> before the palace is cut off from the forest of Saint
+Germain by three ornate iron gates. It was relaid, a transformation from
+designs originally conceived in 1676, by Le Notre, modified in 1750 and
+much reduced in size and beauty in the nineteenth century, though later
+enlarged by taking three hectares of ground from the forest and turning
+them into the accepted form of an English garden.</p>
+
+<p>A peninsula of a superficial area of over ten thousand acres snugly
+enfolded in one of the great horseshoe bends of the Seine contains the
+For&ecirc;t de Saint Germain. A line drawn across the neck of the peninsula
+from Saint Germain to Poissy, following the Route de Poissy, completely
+cuts off this tongue of land which is as wild and wooded to-day as in
+the times of Francis, the Henris and the Louis.</p>
+
+<p>The <i>routes</i> and <i>all&eacute;es</i> of the forest are traced with regularity and
+precision, and historians have written them down as of a length of
+nearly four hundred leagues, a statement which a glance at any map of
+the forest will well substantiate.</p>
+
+<p>High upon its plateau sits this historic wildwood, for the most part of
+a soil dry and sandy, with here and there some great <i>mamelon</i>
+(Druidical or Pagan, as the case may be) rising somewhat above the
+average level. Francis I, hunts<span class='pagenum'><a name="Page_293" id="Page_293">[Pg 293]</a></span>man and lover of art and nature, did
+much to preserve this great forest, and Louis XIV in his time developed
+its system of roads and paths, "chiefly to make hunting easy," says
+history, though it is difficult to follow this. At all events the forest
+remains to-day the most extensive unspoiled breathing-spot of its class
+near Paris.</p>
+
+<p>Within this maze of paths and alleys are many famed historic spots, the
+Ch&ecirc;ne Saint Fiacre, the Croix de Noailles, the Croix Saint Simon, the
+Croix du Main (erected in 1709 in honour of the son of Louis XIV), the
+&Eacute;toile des Amazones, the Patte d'Oie, the Ch&ecirc;ne du Capitaine and many
+more which are continually referred to in the history of the palace, the
+forest of Saint Germain-en-Laye, and of the Abbaye de Poissy.</p>
+
+<p>The forest is not wholly separated from the mundane world for
+occasionally a faint echo of the Rouen railway is heard, a toot from a
+river tug-boat bringing coal up-river to Paris, the strident notes of
+automobile horns, or that of a hooting steam-tram which scorches along
+the principal roadway over which state coaches of kings and courtiers
+formerly rolled. The contrast is not particularly offensive, but the
+railway threatens to make further inroads, so one hardly knows the
+future that may be in store for the patriarch oaks and elms and
+chest<span class='pagenum'><a name="Page_294" id="Page_294">[Pg 294]</a></span>nuts which make up this secular wildwood. Their ages may not in
+all cases approach those of the great Fontainebleau trees, and in point
+of fact the forest is by no means as solitary, nor ever was. One of the
+most celebrated, certainly one of the most spectacular, duels of history
+took place in the park at Saint Germain-en-Laye.</p>
+
+<p>Gui Chabot de Jarnac lived a prodigal and profligate life at the
+expense&mdash;it was said&mdash;of the favours of the Duchesse d'&Eacute;tampes. The
+dauphin, Henri, making an accusation, deemed wholly uncalled for, a
+"<i>duel judiciaire</i>" took place, with La Ch&acirc;taigneraie as the dauphin's
+substitute as adversary of de Jarnac who sought no apology but combat.</p>
+
+<p>It was because Henri meantime had become king and issued his first
+Letters Patent to his council concerning the "<i>duel judiciaire</i>,"
+whereby he absolved himself of the right to partake, that he appointed
+his dear friend Fran&ccedil;ois de Vivonne, "Seigneur de la Ch&acirc;taigneraie," to
+play the r&ocirc;le for him.</p>
+
+<p>Unfortunately the young man could not justify by victory the honour of
+his king and before the monarch and the assembled court he was laid low
+by his adversary.</p>
+
+<p>This was one of the last of the "<i>duels judiciaires</i>"<span class='pagenum'><a name="Page_295" id="Page_295">[Pg 295]</a></span> in France. What
+Saint Louis and Philippe-le-Bel had vainly sought to suppress, the
+procedure having cost at least a hundred thousand <i>livres</i>, was
+practically accomplished by Henri II by a stroke of the pen.<span class='pagenum'><a name="Page_296" id="Page_296">[Pg 296]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XVIII" id="CHAPTER_XVIII"></a>CHAPTER XVIII</h2>
+
+<h3>MAINTENON</h3>
+
+
+<p>Out from Paris, on the old Route d'Espagne, running from the capital to
+the frontier, down which rolled the royal cort&egrave;ges of old, lie Maintenon
+and its famous chateau, some sixty odd kilometres from Paris and twenty
+from Rambouillet.</p>
+
+<p>Just beyond Versailles, on the road to Maintenon, lies the trim little
+townlet of Saint Cyr, known to-day as the West Point of France, the
+military school founded by Napoleon I giving it its chief distinction.</p>
+
+<p>Going back into the remote past one learns that the village grew up from
+a foundation of Louis XIV, who bought for ninety-one thousand <i>livres</i>
+"a chateau and a convent for women," that Madame de Maintenon might
+establish a girls' school therein. She reserved an apartment for
+herself, and one suspects indeed that it was simply another project of
+the Widow Scarron to have a place of rendezvous near the capital.
+Certainly under the circumstances, tak<span class='pagenum'><a name="Page_297" id="Page_297">[Pg 297]</a></span>ing into consideration the good
+that she was doing for orphaned girls, she might at least have been
+allowed the right of a roof to shelter her when she wished. She was
+absolutely dominant within, though never actually in residence for any
+length of time. It was here that "Esther" and "Athalie," which Racine
+had composed expressly for Madame de Maintenon's pensionnaires, were
+produced for the first time.</p>
+
+<div class="figright" style="width: 343px;">
+<img src="images/illus375.jpg" width="343" height="450" alt="" title="Fauteuil" />
+</div>
+
+<p>When not actually living at Saint Cyr it was Madame de Maintenon's
+custom to come hither from Paris each day, arriving between seven and
+eight in the morning, passing the day and returning to town for the
+evening, much as a celebrated American millionaire journalist, whose
+country-house overlooks the famous convent garden, does to-day.</p>
+
+<p>Madame de Maintenon actually went into retirement at Saint Cyr upon the
+death of Louis<span class='pagenum'><a name="Page_298" id="Page_298">[Pg 298]</a></span> XIV, and for four years, until her death, never left it.
+She died from old age, rather than from any grave malady, in this
+"Maison d'Education," which she had inaugurated, and was buried in the
+chapel, beneath an elaborate tomb which the Duc de Noailles, who married
+her niece, caused to be erected. The tomb was destroyed during the
+Revolution and the "Maison Royale de Saint Cyr," of which nothing had
+been changed since its foundation, was suppressed, the edifice itself
+being pillaged and the remains of Madame de Maintenon sadly profaned,
+finally to be recovered and deposited again in the chapel where a simple
+black marble slab marks them in these graven words:</p>
+
+<p class="center">
+Cy-Git Madame De Maintenon<br />
+1635-1719-1836
+</p>
+
+<p>Napoleon I established the &Eacute;cole Militaire at Saint Cyr, from which are
+graduated each year more than four hundred subaltern officers.</p>
+
+<p>The ancient gardens of Madame de Maintenon's time now form the "Champs
+de Mars," or drill ground, of the military school.</p>
+
+<p>South from Saint Cyr runs the great international highroad, the old
+Route Royale of the monarchy. It rises and falls, but mostly straight as
+the flight of the crow, until it crosses the great National Forest of
+Rambouillet. Following the<span class='pagenum'><a name="Page_299" id="Page_299">[Pg 299]</a></span> valley of the Eure almost to its headwaters
+it finally comes to Maintenon, a town of a couple of thousand souls,
+whose most illustrious inhabitant was that granddaughter of
+Theodore-Agrippa d'Aubign&eacute;, named Fran&ccedil;oise, and who came in time to be
+the Marquise de Maintenon.</p>
+
+<p>The Chateau de Maintenon was royal in all but name. The Tresorier des
+Finances under Louis XI, Jean Cottereau (a public official who made good
+it seems, since he also served in the same capacity for Charles VIII,
+Louis XII, and Francis I), had a single daughter, Isabeau, who, in 1526,
+married Jacques d'Angennes, who at the time was already Seigneur de
+Rambouillet.</p>
+
+<p>As a dot this daughter acquired the lands of Maintenon. The property was
+afterwards sold to the Marquis de Villeray, from whom Louis XIV bought
+it in 1674 and disposed of it as a royal gift to Fran&ccedil;oise d'Aubign&eacute;,
+the fascinator of kings, who was afterwards to become (in 1688) Madame
+La Marquise de Maintenon.</p>
+
+<p>This ambitious woman subsequently married her niece to the Duc d'Ayen,
+son of the Mar&eacute;chal de Noailles, and as a marriage portion&mdash;or possibly
+to avoid unpleasant consequences&mdash;turned over the property of Maintenon
+to the young bride and her husband to whose family, the Noailles, it has
+ever since belonged.<span class='pagenum'><a name="Page_300" id="Page_300">[Pg 300]</a></span></p>
+
+<p>To-day the Duc and Duchesse de Noailles make lengthy stays in this
+delightful seigneurial dwelling, and since the apartments are full to
+overflowing of historical souvenirs of their family it may be truly said
+that their twentieth century life is to some considerable extent in
+accord with the traditions of other days.</p>
+
+<div class="figcenter" style="width: 392px;">
+<img src="images/illus379.jpg" width="392" height="600" alt="Chateau de Maintenon" title="" />
+<span class="caption"><i>Chateau de Maintenon</i></span>
+</div>
+
+<p>The existence of this princely residence is an agreeable reminder of the
+life of luxury of the olden time albeit certain modernities which we
+to-day think necessities are lacking.</p>
+
+<p>Maintenon is certainly one of the most beautiful so-called royal
+chateaux of France, if not by its actual importance at least by many of
+the attributes of its architecture, the extent of the domain and the
+history connected therewith. It bridges the span between the private
+chateau and those which may properly be called royal.</p>
+
+<p>In the moyen-age Maintenon was a veritable chateau-fort, forming a
+quadrilateral edifice flanked by round towers at three of its angles,
+and at the fourth by a great square mass of a donjon, all of which was
+united by a vast expanse of solidly built wall which possessed all the
+classic attributes of the best military architecture of its time.
+Entrance was only over a deep moat spanned by a drawbridge.</p>
+
+
+<p>Jean Cottereau made his acquisition of the<span class='pagenum'><a name="Page_301" id="Page_301">[Pg 301]</a></span> domain towards 1490 and
+immediately planned a new scheme of being for the old fortress which,
+according to a more esthetic conception, would thus be brought into the
+class of a luxurious residential chateau. He destroyed the <i>courtines</i>
+which attached the great donjon to the rest of the building, and opened
+up the courtyard so that it faced directly upon the park. He ornamented
+sumptuously the window framings, the dormer windows, and the turrets,
+and framed in the entrance portal with a series of sculptured motives
+which he also added to the entrance to the great inner stairway. In
+short it was an enlargement and embellishment that was undertaken, but
+so thoroughly was it done that the edifice quite lost its original
+character in the process. Like all the chateaux built at this epoch
+Maintenon was no longer a mere fortress, but a palatial retreat,
+luxurious in all its appointments, and shorn of all the manifest
+militant attributes which it had formerly possessed.</p>
+
+<p>The shell was there, following closely the original outlines, but the
+added ornamentation had effectually disguised its primordial existence.
+Living rooms needed light and air, while a fortress or quarters for
+troops might well be ordained on other lines. The Renaissance livened up
+considerably the severe lines of the Gothic cha<span class='pagenum'><a name="Page_302" id="Page_302">[Pg 302]</a></span>teaux of France, and
+though invariably the marks of the transition are visible to the expert
+eye it is also true, as in the case of Maintenon, that there is
+frequently a homogeneousness which is sufficiently pleasing to
+effectually cover up any discrepancies which might otherwise be
+apparent. The warrior aspect is invariably lost in the transition, and
+thus a Renaissance residential chateau enters at once into a different
+class from that of the feudal fortress regardless of the fact that such
+may have been its original status.</p>
+
+<p>The armorial device of Jean Cottereau&mdash;three unlovely lizards blazoned
+on a field of silver&mdash;is still to be seen sculptured on the two towers
+flanking the entrance portal which to-day lacks its old drawbridge
+before mentioned. Surrounding the edifice is a deep, unhealthful,
+mosquito-breeding moat which is all a medi&aelig;val moat should be, but which
+is actually no great attribute to the place considering its
+disadvantages. One wonders that it is allowed to exist in so stagnant a
+condition, as the running waters of the near-by Eure might readily be
+made use of to change all this. The site of the chateau at the
+confluence of the Eure and the Voise is altogether charming.</p>
+
+<p>Madame de Maintenon did much to make the property more commodious and
+convenient<span class='pagenum'><a name="Page_303" id="Page_303">[Pg 303]</a></span> and built the great right wing which binds the donjon to the
+main <i>corps de logis</i>. Her own apartments were situated in the new part
+of the palace. She also built the gallery which leads from the Tour de
+Machicoulis to the pointed chapel, which was a construction of the time
+of Cottereau, an accessory which every self-respecting country-house of
+the time was bound to have. It was by this gallery that the open tribune
+in the little chapel was reached, thus enabling Louis XIV to pass
+readily to mass while he was so frequent a visitor at that period when,
+at Maintenon, he was overseeing the construction of his famous aqueduct.</p>
+
+<p>Maintenon has had the honour, too, to count among its illustrious guests
+Racine, who came at the request of Madame de Maintenon, and here wrote
+"Esther" and "Athalie" which were later produced at Saint Cyr by Madame
+de Maintenon's celebrated band of "Demoiselles."</p>
+
+<p>Louis XIV was not the last of royal race to accept the Chateau de
+Maintenon's hospitality for the unhappy Charles X was obliged to ask
+shelter of its chatelain for himself and fleeing family. They arrived a
+little after midnight of a hot August night, slept as well as possible
+in the former apartments of Madame de Maintenon, and attended mass in
+the chapel on the fol<span class='pagenum'><a name="Page_304" id="Page_304">[Pg 304]</a></span>lowing morning. The monarch then discharged the
+royal guard and the "hundred Swiss" and gave up, defeated at the game of
+playing monarch against the will of the people.</p>
+
+<p>One enters the <i>Cour d'Honneur</i> by a great portal of the time of Louis
+XIV. Immediately before one is the principal fa&ccedil;ade, with its towers of
+brick and its slender little turrets framing in so admirably the
+entrance door. This fa&ccedil;ade is of the fifteenth century and on the tympan
+of the dormer windows one may still see the monogram of its builder,
+Cottereau. The drawbridge has been made way with, and the turrets over
+the portal have been bound together by a diminutive balcony of stone,
+which, while a manifest superfluity, is in no way objectionable.</p>
+
+<p>Under the entrance vault are doors on either side giving access to the
+living apartments of the <i>rez-de-chauss&eacute;e</i>. In the inner courtyard is to
+be found the most exquisite architectural detail of the whole fabric,
+the tower which encloses the monumental stairway, to which entrance is
+had by a portal which is a veritable Gothic jewel. In the tympan of this
+portal, as in the dormer windows, is the device of Jean Cottereau,
+except in this case it is much more elaborate&mdash;a Saint Michel and the
+dragon, surrounded by a "<i>semis de coquilles</i>" bearing the escutcheons<span class='pagenum'><a name="Page_305" id="Page_305">[Pg 305]</a></span>
+of the chatelain&mdash;<i>d'argent &agrave; lezards de sable</i>.</p>
+
+<p>At the left of this stairway tower is the principal courtyard fa&ccedil;ade,
+supported by four arcades, pierced with great windows and surmounted by
+two fine dormer windows, all in the style of Louis XII, of which the
+same effects to be observed at Blois and in the Hotel d'Alluye are
+contemporary.</p>
+
+<p>At the left of the inner court is the wing built by Cottereau which
+terminates in a great round tower, while to the right is that erected by
+Madame de Maintenon ending at the donjon. Directly opposite is a
+magnificent vista over the canal of ornamental water framed on either
+side by patriarchal trees and having as a background the silhouette of
+the arches of the famous aqueduct which was to lead the waters of the
+Eure to Versailles.</p>
+
+<p>The interior of the chateau is not less remarkable than the exterior.
+Entering by the tower portal one comes at once to that magnificent
+<i>grand escalier</i> which is accounted one of the wonders of the French
+Renaissance.</p>
+
+<p>The Salle &agrave; Manger of to-day was the old-time Salle des Gardes. It is
+garnished with a fine wainscoting and panels of Cordovan leather. The
+Chambre &agrave; Coucher of Louis XIV, to the left, is to-day the Salon, and
+here are to be seen<span class='pagenum'><a name="Page_306" id="Page_306">[Pg 306]</a></span> portraits of Louis XIV, Louis XII, Francis I, Henri
+IV, and Louis XIII.</p>
+
+<p>A tiny rotunda contains a statue of Henri IV as a child, and portraits
+of Madame de Maintenon and Louis XIV in their youth. A portrait gallery
+of restrained proportions contains effigies of Madame de Maintenon and
+her niece Mademoiselle d'Aubign&eacute;, the Duc de Penthi&egrave;vre, the Comtesse de
+Toulouse, the Duc de Noailles, the Duchesse de Villars and the Duchesse
+de Chaumont.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus388.jpg" width="650" height="356" alt="Aqueduct of Louis XIV at Maintenon" title="" />
+<span class="caption"><i>Aqueduct of Louis XIV at Maintenon</i></span>
+</div>
+
+<p>The show-piece of the chateau, albeit of recent construction, is known
+variously as the "Grand Galerie" and the "Longue Galerie." Its
+decorations are due to the Duc de Noailles, the father of the present
+proprietor. Virtually it is a portrait gallery of the Noailles family,
+going back to the times of the Crusaders and coming down to the
+twentieth century.</p>
+
+<p>The apartments of Madame de Maintenon form that portion of the chateau
+which has the chief sentimental interest. In an ante-chamber is a
+<i>chaise &agrave; porteurs</i> once having belonged to the Marquise, and her
+portrait by Mignard. Cordovan leather is hung upon the walls, and the
+restored sleeping-room is hung with a canopy and separated from the rest
+of the apartment by a balustrade in <i>bois dor&eacute;</i>. Above the
+chimney<span class='pagenum'><a name="Page_307" id="Page_307">[Pg 307]</a></span>-piece is a portrait of Louis XIV, after Rigaud, and, finally,
+the oratory is ornamented by a series of elegant sculptures in wood and
+a magnificent Boule coffer.</p>
+
+
+
+<p>In the left wing is found a beautiful chapel of the fifteenth century,
+which is very pure in style. It is decorated with a series of
+Renaissance wood panels of the finest workmanship. The coloured glass of
+the windows is of the sixteenth century.</p>
+
+<p>The rebuilt monumental stairway connects directly with a passage leading
+to the entrance portico which opens on the garden terrace before the
+<i>parterre</i>.</p>
+
+<p>The park of Maintenon is in every way admirable, with its <i>pelouse</i>, its
+great border of trees, its waterways and more than thirty bridges. Jean
+Cottereau himself planned the first vegetable and fruit garden, or
+<i>potager</i>, the same whose successor is the delight of the dwellers at
+Maintenon to-day.</p>
+
+<p>The <i>parterre</i>, the Grand Canal and the two avenues of majestic trees
+were due to the conception of Le Notre, and their effect, as set off by
+the alleyed forest background and the pillars of the aqueduct of Louis
+XIV, is something unique.</p>
+
+<p>The gardens at Maintenon were perhaps not<span class='pagenum'><a name="Page_308" id="Page_308">[Pg 308]</a></span> Le Notre's most famous work
+but they followed the best traditions of their time, and because of
+their vast expanse of ornamental water were, in a way, quite unequalled.</p>
+
+<p>Ambling off towards the forest is a great avenue flanked with high
+overhanging shade trees known as the All&eacute;e Racine. It gets its name from
+the fact that the dramatist was wont to take his walks abroad in this
+direction and woo the muse while he was a guest of Madame de Maintenon.<span class='pagenum'><a name="Page_309" id="Page_309">[Pg 309]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XIX" id="CHAPTER_XIX"></a>CHAPTER XIX</h2>
+
+<h3>RAMBOUILLET AND ITS FOREST</h3>
+
+
+<div class="figcenter" style="width: 528px;">
+<img src="images/illus391.jpg" width="528" height="600" alt="" title="Ch&acirc;teau de Rambouillet" />
+</div>
+
+<p>Rambouillet is one of the most famous of the minor royal chateaux of
+France. Built under the first of the monarchies, in the midst of the
+vast forest of Yveline, it has always formed a part<span class='pagenum'><a name="Page_310" id="Page_310">[Pg 310]</a></span> of the national
+domain. Even now, under Republican France, it is still the scene of the
+hunts organized for visiting monarchs, and, within the last half dozen
+years alone, the monarchs of Spain and Belgium, Italy and England have
+shot hares and stags and pheasants in company with a Republican
+president.</p>
+
+<p>The occasions have lacked the picturesque costumes of the disciples of
+Saint Hubert in other times; but the huntsman still winds his horn to
+the same traditional tune and the banquets given in the chateau on such
+occasions are, in no small measure, an echo of what has gone before.</p>
+
+<p>It was in the old chateau of Rambouillet that Francis I died. In the
+month of March, 1547, Francis, coming from Chambord in the south,
+crossed the "accursed bridge" and arrived at the foot of the ivy-grown
+donjon which one sees to-day, the last remaining relic of the medi&aelig;val
+fortress. For a year the monarch had led a wandering life, revisiting
+all the favourite haunts of his kingdom, and, though scarce turned
+fifty, was prematurely aged and gray.</p>
+
+<p>He was lifted tenderly from his royal coach, and by the winding stair,
+carried slowly to his apartments on the second floor, overlooking the
+three canals and the "accursed bridge" and the tangled forest beyond.<span class='pagenum'><a name="Page_311" id="Page_311">[Pg 311]</a></span></p>
+
+<p>Jacques d'Angennes, to whose ancestors Rambouillet one day belonged,
+acted as host to his royal master and cared for him as a brother, but
+Francis was dispirited, and growing weaker every moment. He complained
+bitterly of the death of his favourite son from the plague, and of that
+of the gay monarch across the channel, his old friend, Henry VIII of
+England.</p>
+
+<p>He was restless and wished to move on to Saint Germain, but his
+condition made that impossible. After a feeble attempt to rouse himself
+for a hunt in the forest, he took to his bed again, with the admonition
+to his friend d'Angennes, who never left him: "I am dying, send for my
+son, Henri."</p>
+
+<p>The prince joined the mourners around the royal bedside and heard his
+father's confession thus: "My son, I have sinned greatly; I have been
+led away by my passions; follow that which I have done that is
+accredited good, and ignore the evil; above all, cherish France; be good
+to my people."</p>
+
+<p>That was all except the final counsel to "beware of the Guises; they are
+traitors." After that he spoke no more. Francis I, the gallant,
+art-loving monarch, the father of the Renaissance in France, was dead.</p>
+
+<p>In 1562, Catherine de M&eacute;dici, accompanied<span class='pagenum'><a name="Page_312" id="Page_312">[Pg 312]</a></span> by her son Charles IX, here
+awaited the results of the momentous battle of Dreux. In 1588, Henri
+III, fleeing Paris after the "<i>journ&eacute;e des barricades</i>" came here to
+rest, and so fatigued was he on his arrival that he went to bed "<i>tout
+bott&eacute;</i>."</p>
+
+<div class="figcenter" style="width: 389px;">
+<img src="images/illus395.jpg" width="389" height="600" alt="Laiterie de la Reine, Rambouillet" title="" />
+<span class="caption"><i>Laiterie de la Reine, Rambouillet</i></span>
+</div>
+
+<p>The son of Louis XIV and Madame de Montespan came into possession of
+"the palace and lands" and in his honour the property was made, in spite
+of its limited area, a Duch&eacute;-Pairie.</p>
+
+<p>Louis XIV and Madame de Maintenon, as was but natural, because of its
+proximity to Maintenon and to Paris, frequently honoured Rambouillet
+with their presence; and, a little later, Louis XV and the beautiful
+Comtesse de Toulouse followed suit.</p>
+
+
+<p>The Duc de Penthi&egrave;vre, to whom the property had by this time descended,
+at the instance of Louis XVI, ceded to that monarch the domain of
+Rambouillet.</p>
+
+<p>Louis XVI built vast commons and outbuildings, all with some
+architectural pretence, to house the appanage of the royal hunt, and
+also built the Laiterie de la Reine and the model farm where, in 1786,
+he established the first national sheepfold.</p>
+
+
+
+<p>To-day this is the famous &Eacute;cole de Bergers, where is quartered the
+largest flock of <i>moutons &agrave; laine</i><span class='pagenum'><a name="Page_313" id="Page_313">[Pg 313]</a></span> (merino sheep) in France, they
+having been brought chiefly from Spain.</p>
+
+<p>The Laiterie de la Reine was a tiny sandstone temple with interior
+fittings chiefly of white marble, and with a great, round centre-table,
+and smaller tables in each corner, equally of marble, as becomes a
+hygienically fitted dairy. It was restored by Louis Napoleon during the
+Second Empire, and is still to be seen in all its pristine glory.</p>
+
+<p>In addition, Louis XVI had at Rambouillet a private domain of a
+considerable extent which only the Constitution of 1791 united to the
+Civil List. This property, except the palace, the park and the forest,
+was sold later by the State. The Imperial Civil List, formed in 1805 by
+Napoleon, included these dependencies specifically, and the emperor
+frequently hunted in the neighbouring forest, though, compared to his
+predecessors, he had little time to devote to that form of sport. Here,
+too, was signed, in 1810, the decree which united Holland with the
+Empire.</p>
+
+<p>Rambouillet has fallen sadly since the Revolution. A decree of the
+<i>Representants du Peuple</i>, of October 14, 1793, provided that "the
+furnishings of this palace, heretofore royal, shall be sold." Under the
+Consulate and Empire a certain citizen, Trepsat by name, received an
+injury in protect<span class='pagenum'><a name="Page_314" id="Page_314">[Pg 314]</a></span>ing Napoleon in an attack and, as recompense, was made
+the official Architect and Conservator of the Palace of Rambouillet.</p>
+
+<p>Hardly had Trepsat entered upon his functions when he suggested the
+demolition of the chateau. Napoleon hesitated, but finally partially
+agreed, insisting, however, that enough should be left to form a
+comfortable hunting-lodge. Trepsat would have torn down all and rebuilt
+anew. Napoleon made an appointment with his architect to visit the
+property and discuss the matter in detail the following year (1805), but
+at that moment he was campaigning in Austria, so the interview was not
+held. This was Trepsat's chance, and he found a pretext to overthrow the
+entire east wing, but was stopped before he was able to further carry
+out his ignorant act of vandalism. Trepsat was severely reprimanded by
+the emperor himself, and was ordered to put things back as he found
+them. "Even the most battered and sickly architect who ever lived could
+hardly have had a worse inspiration," said Napoleon. Trepsat, be it
+recalled, had lost a leg.</p>
+
+<p>The restoration was commenced, but Trepsat, committing one fault after
+another, and finally juggling with the accounts, was obliged to take on
+a collaborator by the name of Famin, a young<span class='pagenum'><a name="Page_315" id="Page_315">[Pg 315]</a></span> <i>pensionnaire</i> of the
+Acad&eacute;mie des Beaux Arts, recently returned from Rome. It was he who
+saved Rambouillet from utter destruction.</p>
+
+<p>The apartments of Napoleon, which were those given over to public
+functions in the time of the Comte de Toulouse, had been, and were, most
+luxuriously appointed. That which shows most clearly the imprint of the
+imperial r&eacute;gime is the curious Salle de Bains which was in direct
+communication with the study, or Cabinet de Travail.</p>
+
+<p>It might have been a room in a Pompeian house so classic were its lines
+and decorations. There was a series of medallions painted on the wall
+representing portraits of members of the imperial family. These were
+chiefly portraits of the female sex, and Napoleon, the first time he
+entered his bath, in an excess of modesty and fury cried out: "Who is
+the ass that did this thing?" Immediately they were painted out, and,
+for the sum of nine hundred and fifty francs, another artist was found
+who filled the frames of the medallions with sights and scenes
+associated less intimately with Napoleonic history.</p>
+
+<p>Under the Empire the architect Famin was commissioned to furnish a
+series of architectural embellishments to the gardens of Rambouillet.
+Various stone statues were added and an octagon pavilion on the Ile des
+Roches was restored and<span class='pagenum'><a name="Page_316" id="Page_316">[Pg 316]</a></span> redecorated. Two great avenues were cut through
+the <i>parterre</i>, and, as if fearing indiscretions on the part of his
+entourage, the emperor caused to be planted long rows of lindens and
+tulip trees, which were again masked by two rows of poplars. The
+<i>peloux</i> of the Jardin Fran&ccedil;ais were re&euml;stablished and the curves and
+sweeps of the paths of the Jardin Anglais laid out anew.</p>
+
+<div class="figcenter" style="width: 412px;">
+<img src="images/illus401.jpg" width="412" height="600" alt="Chateau de Rambouillet" title="" />
+<span class="caption"><i>Chateau de Rambouillet</i></span>
+</div>
+
+<p>This ancient government property, arisen anew from its ruins, now bore
+the name of the Pavillon du Roi de Rome, after the son of Napoleon. The
+&Eacute;curies, or stables, which had been built by Louis XVI, were transformed
+into kennels, and various "posts," or miniature shooting-boxes, were
+distributed here and there through the park.</p>
+
+<p>Under the Restoration the transformation of the chateau, which had been
+projected ever since the time of Louis XVI, undertaken and then
+abandoned by Napoleon, was again commenced, but on a less ambitious
+scale than formerly. Chiefly this transformation consisted of opening up
+windows, thus making practically a new fa&ccedil;ade. It was not wholly a happy
+thought, and the spirit of economy of Louis XVIII, no less, perhaps,
+than other motives, arrested this mutilation and the architect was
+discharged from his functions.</p>
+
+
+<p><span class='pagenum'><a name="Page_317" id="Page_317">[Pg 317]</a></span></p>
+
+<p>Again the hand of fate fell hard upon Rambouillet and its definite
+eclipse as a royal abode came with the abdication of Charles X. The
+abdication was actually signed at Rambouillet, and here, in the same
+Salle du Conseil, the dauphin renounced the throne in favour of the
+young Duc de Bordeaux.</p>
+
+<p>It was at Rambouillet that Charles X passed those solemn last days
+before the abdication. He had been unmercifully harassed at Paris and
+sought a quiet retreat, "not too far from the Tuileries," where he might
+repose a moment and take counsel. In view of later events this was
+significant; perhaps it was significant at the time, for the king
+speedily repented his abdication. It was too late, for he had classed as
+rebels all the royalists who would have accepted the "infant king" as
+their monarch, even though the following Revolution prevented this.</p>
+
+<p>It was on the third of August that the commissioners, deputies of the
+Provisionary Government, were brought before the king at Rambouillet.
+They announced that twenty-five thousand armed Parisians were marching
+on the chateau to compel him to quit his kingdom. It was not a matter
+for debate, and at nine o'clock on the same night the monarch gave
+assent to being conducted to Cherbourg, where he embarked upon his fatal
+exile.<span class='pagenum'><a name="Page_318" id="Page_318">[Pg 318]</a></span></p>
+
+<p>After 1830, with a business-like instinct, the authorities rented the
+property for twelve years to the Baron Schickler, and, at the end of the
+Revolution of 1848, its career became more plebeian still; it was rented
+to a man who converted the palace into an elaborately appointed
+road-house, and the lawns and groves into open-air restaurants and
+dancing places.</p>
+
+<p>Under the Gouvernement du Juillet the chateau, the park and the forest
+were removed from the Civil List, and entered upon the inventory of the
+Administration des Domaines.</p>
+
+<p>Under the Second Empire Rambouillet appeared again on the monarchial
+Civil List. Napoleon III came here at times to hunt, but not to live,
+and of his rare appearances at the chateau but little record exists.
+Since 1870 Rambouillet has belonged to the Republican Government, and,
+since royalties no longer exist in France, Republican chiefs of state
+now take the lead in Rambouillet's national hunts.</p>
+
+<p>The property, as it stands to-day, is divided readily into four distinct
+parts, the palace, the <i>parterre</i>, the <i>Jardin Anglais</i> and the park.
+The grove of lindens is remarkable in every respect, the ornamental
+waters are gracious and of vast extent, and the <i>Laiterie</i> and the
+<i>Ferme</i> are decidedly models of their kind; but the Chau<span class='pagenum'><a name="Page_319" id="Page_319">[Pg 319]</a></span>mi&egrave;re des
+Coquillages, a rustic summer-house of rocks and shells and questionable
+d&eacute;bris of all sorts, is hideous and unworthy.</p>
+
+<p>Not the least of the charming features of the park is the great alley of
+Louisiana cypresses, one of the real sights, indeed, perfecting the
+charm of the great body of water to the left of the chateau.</p>
+
+<p>Of the structure which existed in the fourteenth century, the chateau of
+Rambouillet retains to-day only a great battlemented tower, and some
+low-lying buildings attached to it. Successive enlargements,
+restorations and mutilations have changed much of the original aspect of
+the edifice, and modern structures flank and half envelop that which, to
+all eyes, is manifestly ancient. The d&eacute;bris of the old fortress, which
+was the foundation of all, adds its bit to the conglomerate mass of
+which the chief and most imposing elements are the two tall <i>corps de
+logis</i> in the centre.</p>
+
+<p>Within, a rather banal Salle de Bal is shown as the chief feature, but
+it is conventionally unlovely enough to be passed without emotion, save
+that its easterly portion takes in the <i>cabinet</i>, or private apartment,
+where Charles X signed his abdication. Adjoining this is the bedroom
+occupied by that monarch, and a dining-room<span class='pagenum'><a name="Page_320" id="Page_320">[Pg 320]</a></span> which also served His
+Majesty, and which is still used by the head of the government on
+ceremonious occasions. Its decorative scheme is of the period of Louis
+XV.</p>
+
+<p>The Salle de Conseil is of the period of Charles X, and has some fairly
+imposing carved wainscotings showing in places the monograms of Marie
+Sophie and the Comtesse de Toulouse.</p>
+
+<p>A great map, or plan, of the Forest of Rambouillet covers the end wall,
+and, if not esthetically beautiful, is at least useful and very
+interesting.</p>
+
+<p>It was executed under Louis XVI and doubtless served its purpose well
+when the hunters gathered after a day afield and recounted anecdotes of
+their adventures.</p>
+
+<p>There is another apartment on the ground floor which is known as the
+<i>Salle &agrave; Manger des Rendezvous de Chasse</i>, whose very name explains well
+its functions.</p>
+
+<p>The Cabinet de Travail of Marie Antoinette and the Salle de Bain of
+Napoleon have something more than a mere sentimental interest; they were
+decidedly practical adjuncts to the royal palace.</p>
+
+<p>Napoleon's bath took the form of a rather short, deep pool. Its fresco
+decorations, as seen to-day&mdash;replacing that family portrait gallery
+which Napoleon caused to be painted out<span class='pagenum'><a name="Page_321" id="Page_321">[Pg 321]</a></span>&mdash;are after the pseudo-antique
+manner and represent bird's-eye views of various French cities and
+towns, while a series of painted armorial trophies decorates the
+ceiling.</p>
+
+<p>On the second floor are the apartments occupied by the Duchesse de Berry
+and those of the Duchesse d'Angouleme.</p>
+
+<p>In the great round tower is the circular apartment where Francis I
+breathed his last. It is this great truss-vaulted room that most
+interests the visitor to Rambouillet.</p>
+
+<p>On the ground floor is another Salle de Bain, quite as theatrically
+disposed as that of Napoleon. Its construction was due to the Comte de
+Toulouse whose taste ran to Delft tiles and polychrome panels, framing
+two imposing marines, also worked out in tiles.</p>
+
+<p>The <i>parterre</i>, extending before the main building, is of an ampleness
+scarcely conceivable until once viewed. It is purely French in design
+and is of the epoch of the tenancy of the Comte de Toulouse. Before the
+admirably grouped lindens was a boathouse, and off in every direction
+ran alleys of acacias, while here and there tulip beds, rose gardens and
+hedges of rhododendrons flanked the very considerable ornamental waters.
+This body of water, in the form of a trapezoid, is divided by four
+grass-grown islets and separates<span class='pagenum'><a name="Page_322" id="Page_322">[Pg 322]</a></span> the Jardin Anglais from the Jardin
+Fran&ccedil;ais. One of the islets is known as the Ile des Roches and contains
+the Grotte de Rabelais, so named in honour of the Cur&eacute; of Meudon, when
+he was presented at Rambouillet by the Cardinal du Bellay. It was on
+this isle that were given those famous f&ecirc;tes in honour of the "<i>beaux
+esprits</i>" who formed the assiduous cort&egrave;ge of Catherine de Vivonne,
+mythological, pagan and <i>outr&eacute;</i>.</p>
+
+<p>The Jardin Anglais at Rambouillet is the final expression of the species
+in France. Designed under the Duc de Penthi&egrave;vre, it was restored and
+considerably enlarged by Napoleon and, following the contours of an
+artificial rivulet, it fulfils the description that its name implies.</p>
+
+<p>More remote, and half hidden from the precincts of the chateau, are the
+Chaumi&egrave;re and the Ermitage and they recall the background of a Fragonard
+or a Watteau. It is all very "stagy"&mdash;but, since it exists, can hardly
+be called unreal.</p>
+
+<p>The park proper, containing more than twelve hundred hectares, is one of
+the largest and most thickly wooded in France. Between the <i>parterre</i>
+and the French and English garden and the park lie the Farm and the
+Laiterie de la Reine, the caprice of Louis XVI when he would content
+Marie Antoinette and give her something to think about besides her
+troubles. Napoleon stripped<span class='pagenum'><a name="Page_323" id="Page_323">[Pg 323]</a></span> it of its furnishings to install them, for
+a great part, at Malmaison, for that other unhappy woman&mdash;Josephine.
+Later, to give pleasure to Marie Louise, he ordered them brought back
+again to Rambouillet, but it was to Napoleon III that the restoration of
+this charming conceit was due.</p>
+
+<p>In the neighbourhood of Rambouillet was the famous Chateau de Chasse, or
+royal shooting-box, which Louis XV was fond of making a place of
+rendezvous.</p>
+
+<p>On the banks of the &Eacute;tang de Pourras stood this Chateau de Saint Hubert,
+named for the patron saint of huntsmen, and within its walls was passed
+many a happy evening by king and courtiers after a busy day with stag
+and hound.</p>
+
+<p>The hunt in France was perhaps at the most picturesque phase of its
+existence at this time. The hunt of to-day is but a pale, though bloody,
+imitation of the real sport of the days when monarchs and their
+seigneurs in slashed doublet and hose and velvet cloaks pursued the deer
+of the forest to his death, and knew not the <i>maitre d'equipage</i> of
+to-day.<span class='pagenum'><a name="Page_324" id="Page_324">[Pg 324]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XX" id="CHAPTER_XX"></a>CHAPTER XX</h2>
+
+<h3>CHANTILLY</h3>
+
+
+<p>Chantilly, because of its royal associations, properly finds its place
+in every traveller's French itinerary. Not only did Chantilly come to
+its great glory through royal favour, but in later years the French
+government has taken it under its wing, the chateau, the stables and the
+vast park and forest, until the ensemble is to-day as much of a national
+show place as Versailles or Saint Germain. It is here in the marble
+halls, where once dwelt the Cond&eacute;s and the Montmorencys, that are held
+each year the examinations of the French Acad&eacute;mie des Beaux Arts. And
+besides this it is a place of pilgrimage for thousands of tourists who,
+as a class, for a couple of generations previously, never got farther
+away from the capital than Saint Cloud.</p>
+
+<p><span class='pagenum'><a name="Page_325" id="Page_325">[Pg 325]</a></span></p>
+
+
+<div class="figcenter" style="width: 406px;">
+<img src="images/illus411.jpg" width="406" height="650" alt="" title="CHANTILLY" />
+</div>
+
+<p>Many charters of the tenth century make mention of the estates of
+Chantilly, which at that time belonged to the Seigneurs of Senlis. The
+chateau was an evolution from a block-house, or fortress, erected by
+Catulus in Gallo-<span class='pagenum'><a name="Page_326" id="Page_326">[Pg 326]</a></span>Roman times and four centuries later it remained
+practically of the same rank. In the fourteenth century the chateau was
+chiefly a vast fortress surrounded by a water defence in the form of an
+enlarged moat by means of which it was able to resist the Bourguignons
+and never actually fell until after the taking of Meaux by the English
+king, Henry V.</p>
+
+<div class="figcenter" style="width: 495px;">
+<img src="images/illus413.jpg" width="495" height="500" alt="Statue of Le Notre, Chantilly" title="" />
+<span class="caption"><i>Statue of Le Notre, Chantilly</i></span>
+</div>
+
+
+<p>Jean II de Montmorency, by his marriage with Marguerite d'Orgemont, came
+to be the possessor of the domain, their son, in turn, becoming the
+heir. It was this son, Guillaume, who became one of the most brilliant
+servitors of the monarchs Louis XI, Louis XII, and Francis I, and it was
+through these friends at court that Chantilly first took on its regal
+aspect.</p>
+
+<p>In turn the celebrated Anne de Montmorency, Connetable de France, came
+into the succession and finding the old fortress, albeit somewhat
+enlarged and furbished up by his predecessor, less of a palatial
+residence than he would have, separated the ancient chateau-fort from an
+added structure by an ornamental moat, or canal, and laid out the
+<i>pelouse</i>, <i>parterres</i> and the alleys of greensward leading to the
+forest which make one of the great charms of Chantilly to-day.</p>
+
+<p>Here resided, as visitors to be sure, but for<span class='pagenum'><a name="Page_327" id="Page_327">[Pg 327]</a></span> more or less extended
+periods, and at various times, Charles V, Charles IX and Henri IV, each
+of them guests of the hospitable and ambitious Montmorencys.</p>
+
+
+
+<p>Chantilly passed in 1632 to Charlotte, the sister of the last Mar&eacute;chal
+de Montmorency, the wife of Henri II, Prince de Cond&eacute;, the mother of the
+Grand Cond&eacute;, the Prince de Conti and the Duchesse de Longueville.</p>
+
+<p>With the Grand Cond&eacute; came the greatest fame, the apotheosis, of
+Chantilly. This noble was so enamoured of this admirable residence that
+he never left it from his thoughts and decorated it throughout in the
+most lavish taste of his time, destroying at this epoch the chateau of
+the moyen-age and the fortress. These were the days of gallant warriors
+with a taste for pretty things in art, not mere bloodthirsty
+slaughterers.</p>
+
+<p>On the foundations of the older structures there now rose an admirable
+pile (not that which one sees to-day, however), embellished by the
+surroundings which were evolved from the brain of the landscape
+gardener, Le Notre. The Revolution made way with this lavish structure
+and with the exception of the Chatelet, or the Petit Chateau (designed
+by Jean Bullant in 1560, and remodelled within by Mansart) the
+present-day work is a creation of the Duc d'Aumale,<span class='pagenum'><a name="Page_328" id="Page_328">[Pg 328]</a></span> the heir to the
+Cond&eacute;s' name and fame, to whom the National Assembly gave back his
+ancestral estates which had in the meantime come into the inventory of
+royal belongings through the claims established by the might of the
+Second Empire.</p>
+
+<p>Back to the days of the Grand Cond&eacute; one reads of an extended visit made
+by Louis XIV to his principal courtier. It was at an expense of two
+hundred thousand <i>&eacute;cus</i> that the welcoming f&ecirc;te was accomplished. Madame
+de S&eacute;vign&eacute; has recounted the event more graphically than any other
+chronicler, and it would be presumption to review it here at length. The
+incident of Vatel alone has become classic.</p>
+
+<p>To the coterie of poets at Rambouillet must be added those of Chantilly;
+their sojourn here added much of moment to the careers and reputations
+of Boileau, Racine, Bourdaloue and Bossuet. It was the latter, who, in
+the funeral oration which he delivered on the death of the Prince de
+Cond&eacute;, said:</p>
+
+<p>"Here under his own roof one saw the Grand Cond&eacute; as if he were at the
+head of his armies, a noble always great, as well in action as in
+repose. Here you have seen him surrounded by his friends in this
+magnificent dwelling, in the shady alleys of the forest or beside the
+purling<span class='pagenum'><a name="Page_329" id="Page_329">[Pg 329]</a></span> waters of the brooks which are silent neither day nor night."</p>
+
+<p>The Grand Cond&eacute; died, however, at Fontainebleau. The heir, Henri-Jules
+de Bourbon, did his share towards keeping up and embellishing the
+property, and to him was due that charming wildwood retreat known as the
+Parc de Sylvie.</p>
+
+<p>Louis-Henri de Bourbon, Minister of Louis XV at the commencement of his
+reign, had gained a fabulous sum of money in the notorious "Law's Bank"
+affair, and, with a profligate and prodigal taste in spending, lived a
+life of the grandest of grand seigneurs at Chantilly, to which, as his
+donation to its architectural importance, he contributed the famous
+&Eacute;curies, or stables. To show that he was <i>persona grata</i> at court he
+gave a great f&ecirc;te here for Louis XV and the Duchesse du Barry.</p>
+
+<p>The last Prince de Cond&eacute; but one before the Revolution built the Chateau
+d'Enghien in the neighbourhood, and sought to people the Parc de Sylvie
+with a rustic colony of thatched <i>maisonettes</i> and install his
+favourites therein in a weak imitation of what had been done in the
+Petit Trianon. The note was manifestly a false one and did not endure,
+not even is its echo plainly audible for all is hearsay to-day and no
+very definite record of the circumstance exists.<span class='pagenum'><a name="Page_330" id="Page_330">[Pg 330]</a></span></p>
+
+<p>Chantilly in later times has been a favourite abode with modern
+monarchs. The King of Denmark, the Emperor Joseph II and the King of
+Sweden were given hospitality here, and much money was spent for their
+entertainment, and much red and green fire burned for their amusement
+and that of their suites.</p>
+
+<p>The Revolution's fell blow carried off the principal parts of the
+Cond&eacute;'s admirable constructions and it is fortunate that the Petit
+Chateau escaped the talons of the "Bande Noire." Immediately afterwards
+the Chateau d'Enghien and the &Eacute;curies were turned over to the uses of
+the Minister of War, and the authorities of the Jardin des Plantes were
+given permission to transplant and transport anything which pleased
+their fancy among the exotics which had been set out by Le Notre in
+Chantilly's famous <i>parterres</i>.</p>
+
+<p>Under the imperial r&eacute;gime the For&ecirc;t de Chantilly was given in fee simple
+to Queen Hortense, though all was ultimately returned to the Cond&eacute; heirs
+after the Restoration. It was at this period that Chantilly received the
+visit of Alexander, Emperor of Russia, and the historian's account of
+that visit makes prominent the fact that during the periods of rain it
+was necessary that an umbrella be carried over the imperial head as<span class='pagenum'><a name="Page_331" id="Page_331">[Pg 331]</a></span> he
+passed through the corridors of the palace from one apartment to
+another.</p>
+
+<p>The host of the emperor died here in 1818 and his son, spending perhaps
+half of his time here, cared little for restoration and spent all his
+waking hours hunting in the forest, returning to the Petit Chateau only
+to eat and sleep.</p>
+
+<p>The Duc de Bourbon added to the flanking wings of the Petit Chateau and
+cleaned up the d&eacute;bris which was fast becoming moss-grown, weed
+encumbered and altogether disgraceful. The moats were cleaned out of
+their miasmatic growth and certain of the grass-carpeted <i>parterres</i>
+resown and given a semblance of their former selves.</p>
+
+<p>Some days after the Revolution of 1830 the Prince de Cond&eacute; died in a
+most dramatic fashion, and his son, the Duc d'Enghien, having been shot
+at Vincennes under the Empire, he willed the Duc d'Aumale and his issue
+his legal descendants forever.</p>
+
+<p>Towards 1840 the Duc d'Aumale sought to reconstruct the splendours of
+Chantilly, but a decree of January 22, 1852, banished the entire Orleans
+family and interrupted the work when the property was sold to the
+English bankers, Coutts and Company, for the good round sum of eleven
+million francs, not by any means an<span class='pagenum'><a name="Page_332" id="Page_332">[Pg 332]</a></span> extravagant price for this estate
+of royal aspect and proportions. The National Assembly of 1872 did the
+only thing it could do in justice to tradition&mdash;bought the property in
+and decreed that it be restored to its legitimate proprietor.</p>
+
+<p>It was as late as 1876 that the Duc d'Aumale undertook the restoration
+of the Chatelet and the rebuilding of the new chateau which is seen
+to-day. The latter is from the designs of Henri Daumet, member of the
+Institut de France.</p>
+
+<p>In general the structure of to-day occupies the site of the moyen-age
+chateau but is of quite a different aspect.</p>
+
+<p>The Duc d'Aumale made a present of the chateau and all that was
+contained therein to the Institut de France. From a purely sordid point
+of view it was a gift valued at something like thirty-five million
+francs, not so great as many new-world public legacies of to-day, but in
+certain respects of a great deal more artistic worth.</p>
+
+<p>The mass is manifestly imposing, made up as it is, of four distinct
+parts, the Eglise, dating from 1692, the &Eacute;curies, the Chatelet&mdash;or Petit
+Chateau, and the Chateau proper&mdash;the modern edifice.</p>
+
+<p>Before the celebrated &Eacute;curies is a green, velvety <i>pelouse</i> which gives
+an admirable approach. The architecture of the &Eacute;curies is of a heavy<span class='pagenum'><a name="Page_333" id="Page_333">[Pg 333]</a></span>
+order and the sculptured decorations actually of little esthetic worth,
+representing as they do hunting trophies and the like. Before the great
+fountain one deciphers a graven plaque which reads as follows:</p>
+
+<p class="center">
+Louis Henri de Bourbon<br />
+Prince de Cond&eacute;<br />
+Fut Construire Cette &Eacute;curie<br />
+1701-1784.
+</p>
+
+<p>Within the two wings may be stabled nearly two hundred horses. The Grand
+&Eacute;curies at Chantilly are assuredly one of the finest examples extant of
+that luxuriant art of the eighteenth century French builder. Luxurious,
+excessively ornate and overpowering it is, and, for that reason, open to
+question. The work of the period knew not the discreet middle road. It
+was of Chantilly that it was said that the live stock was better lodged
+than its masters. The architect of this portion of the chateau was Jean
+Aubert, one of the collaborators of Jules Hardouin Mansart.</p>
+
+<p>The characteristics of Chantilly, take it as a whole, the chateau, the
+park and the forest, are chiefly theatrical, but with an all-abiding
+regard for the proprieties, for beyond a certain heaviness of
+architectural style in parts of the chateau everything is of the finely
+focussed rel<span class='pagenum'><a name="Page_334" id="Page_334">[Pg 334]</a></span>ative order of which the French architect and landscape
+gardener have for ages been past masters.</p>
+
+<p>The real French garden is here to be seen almost at its best, its
+squares and ovals of grassy green apportioned off from the mass by
+gravelled walks and ornamented waters. The "<i>tapis d'orient</i>" effect, so
+frequently quoted by the French in writing of such works, is hardly
+excelled elsewhere.</p>
+
+<p>All this shocked the mid-eighteenth century English traveller, but it
+was because he did not, perhaps could not, understand. Rigby, "the
+Norwich alderman" as the French rather contemptuously referred to this
+fine old English gentleman, said frankly of Chantilly: "All this has
+cost dear and produced a result far from pleasing." He would have been
+better pleased doubtless with a privet or box hedge and an imitation
+plaster rockery, things which have never agreed with French taste, but
+which were the rule in pretentious English gardens of the same period.
+Rigby must indeed have been a "<i>grincheau</i>," as the French called him,
+for this same up-country gentleman said of Versailles: "Lovely
+surrounding country but palace and park badly designed." Versailles is
+not that, whatever else its faults may be.<span class='pagenum'><a name="Page_335" id="Page_335">[Pg 335]</a></span></p>
+
+<p>Chantilly is more than a palace, it is a museum of nature, a hermitage
+of art and of history. The fantasy of its <i>tourelles</i>, its <i>lucarnes</i>
+and its <i>pignons</i> are something one may hardly see elsewhere in such
+profusion, and the fact that they are modern is forgotten in the
+impression of the general silhouette.</p>
+
+<p>The adventurer who first built a donjon on the Rocher de Chantilly
+little knew with what seigneurial splendour the site was ultimately to
+be graced. From a bare outpost it was transformed, as if by magic, into
+a Renaissance palace of a supreme beauty. The Duc d'Aumale said in his
+"Acte de Donation de Chantilly": "It stands complete and varied, a
+monument of French art in all its branches, a history of the best epochs
+of our glory."</p>
+
+<p>Among all the palatial riches neighbouring upon Paris, not forgetting
+Versailles, Compi&egrave;gne, Fontainebleau, Pierrefonds and Rambouillet,
+Chantilly, by the remarkable splendour of its surroundings, its
+situation and the artistic treasures which it possesses, is in a class
+by itself. It is a class more clearly defined by the historic souvenirs
+which surround it than any other contemporary structure of this part of
+France.</p>
+
+<p>Its corridors and gravelled walks and the long alleys of the park and
+forest may not take on<span class='pagenum'><a name="Page_336" id="Page_336">[Pg 336]</a></span> the f&ecirc;te-like aspect which they knew in the
+eighteenth century, but they are not solitary like those of
+Fontainebleau and Rambouillet, nor noisily overrun like those of
+Versailles or Saint Germain.</p>
+
+<p>The ornamental waters which surround the Chateau de Chantilly are of a
+grand and nearly unique beauty. It is a question if they are not finer
+than the waters of Versailles, indeed they preceded them and may even
+have inspired them.</p>
+
+<div class="figcenter" style="width: 423px;">
+<img src="images/illus425.jpg" width="423" height="600" alt="Chateau de Chantilly" title="" />
+<span class="caption"><i>Chateau de Chantilly</i></span>
+</div>
+
+<p>The Chatelet, the chateau proper and the chapel form a group quite
+distinct from the &Eacute;curies. The Cour d'Honneur is really splendid and one
+hardly realizes the juxtaposition of modernity. The pavilion attributed
+to Jean Bullant, the western fa&ccedil;ade, the ancient Petit Chateau, the
+Grand Vestibule, the Grand Escalier and the Gallerie des Cerfs and a
+dozen other apartments are of a rare and imposing beauty, though losing
+somewhat their distinctive aspect by reason of the <i>objets de mus&eacute;e</i>
+distributed about their walls and floors.</p>
+
+<p>One of the landscape gems of Chantilly is the <i>Pelouse</i>, a vast
+esplanade of greensward now forming, in part, the celebrated race track
+of Chantilly. Sport ever formed a part of the outdoor program at
+Chantilly, but that of to-<span class='pagenum'><a name="Page_337" id="Page_337">[Pg 337]</a></span>day is just a bit more horsey than that of
+old, a good deal less picturesque and assuredly more vulgarly banal as
+to its <i>cachet</i> than the hunts, the tourneys and courses of the romantic
+age.</p>
+
+
+<p>Thousands come to Chantilly to wager their coin on scrubs and dark
+horses ridden by third-rate "warned-off" jockeys from other lands, but
+probably not ten in ten thousand of the lookers on at the Grand Prix du
+Jockey Club in May ever make the occasion of the spring meeting an
+opportunity for visiting the fine old historic monument of the Cond&eacute;s.</p>
+
+<p>The "Races" of Chantilly may be given a further word in that they are an
+outgrowth of a foundation by the Duc d'Orleans in 1832. The track forms
+a circuit of two thousand metres, and occupies quite the best half of
+the Pelouse, closed in on one side by the thick-grown For&ecirc;t de Chantilly
+and flanked, in part, on the other by the historic &Eacute;curies, with the
+Tribune, or grand stand, just to the south.</p>
+
+<p>Many tourists arrive at Chantilly by auto, stop brusquely before the
+Grande Grille, rush through the galleries of the chateau, do "<i>cent
+pas</i>" in the park, give a cursory glance at the stables and are off; but
+more, many more, with slower steps and saner minds, drink in the charms
+which are offered on all sides and consider<span class='pagenum'><a name="Page_338" id="Page_338">[Pg 338]</a></span> the time well spent even if
+they have paid "Boulevard Prices" at the Restaurant du Grand Cond&eacute; for
+their <i>dejeuner</i>.</p>
+
+<p>It has been said that a museum is a reunion of <i>objets d'art</i> brought
+about by a methodical grouping, either chronologically or categorically.
+The Duc d'Aumale's Mus&eacute;e de Chantilly is more an expression of personal
+taste. He collected what he wished and he arranged his collections as
+suited his fancy.</p>
+
+<p>The famous Mus&eacute;e de Chantilly, which is the lodestone which draws most
+folk thither, so admirably housed, was a gift of the Duc d'Aumale who,
+for the glory of his ancestors, and the admiration of the world, to say
+nothing of his own personal satisfaction, here gathered together an
+eclectic collection of curious and artistic treasures, certainly not the
+least interesting or valuable among the great public collections in
+France. The effect produced is sometimes startling, a Messonier is cheek
+by jowl with a Baron Gros, a Decamps <i>vis &agrave; vis</i> to a Veronese, and a
+Lancret is bolstered on either hand by a Poussin and a Nattier. Amid all
+this disorder there is, however, an undeniable, inexplicable charm.</p>
+
+<p>There are three distinct apartments worth, more than all the others, the
+glance of the hurried<span class='pagenum'><a name="Page_339" id="Page_339">[Pg 339]</a></span> visitor to the Mus&eacute;e Cond&eacute; at Chantilly. In the
+first, the Santuario, is the Livre d'Heures of Etienne Chevalier, by
+Jean Fouquet, considered as the most important relic of primitive French
+art extant.</p>
+
+<p>The Cabinet des Gemmes comes second, and here is the celebrated "Diamant
+Rose," called the Grand Cond&eacute;.</p>
+
+<p>Finally there is the Galerie de Psyche, with forty-four coloured glass
+windows, executed for the Connetable de Montmorency in 1541-1542.</p>
+
+<p>The great collection of historical and artistic treasures stowed away
+within the walls of Chantilly the Duc d'Aumale selected himself in order
+to associate his own name with the glorious memory of the Cond&eacute;s, who
+were so intimately connected with the chateau.</p>
+
+<p>The Duc sought to recover such of the former furnishings of the chateau
+as had been dissipated during the Revolution whenever they could be
+heard of and could be had at public or private sale.</p>
+
+<p>In this connection a word on Chantilly lace may not be found inapropos.
+The Chantilly lace of to-day, it is well to recall, is a mechanically
+produced article of commerce, turned out by the running mile from
+Nottingham, England, though in the days when Chantilly's porcelains<span class='pagenum'><a name="Page_340" id="Page_340">[Pg 340]</a></span>
+rivalled those of Sevres it was purely a local product. One may well
+argue therefore that the bulk of the Chantilly lace sold in the shops of
+Chantilly to-day is not on a par with the admirable examples to be seen
+in the glass cases of the museum.</p>
+
+<p>A wooded alley leading to the great park runs between the main edifice
+and the Chateau d'Enghien, a gentle incline descending again to the
+sunken gardens in a monumental stairway of easy slope, the whole a
+quintessence of much that is best of the art of the landscape gardener
+of the time.</p>
+
+<p>To the left extends the vast Jardin Anglais&mdash;a veritable French Jardin
+Anglais. Let not one overlook the distinction: On conventional lines it
+is pretty, dainty and pleasing, but the species lacks the dignified
+formality of the Italian garden or the ingenious arrangement of the
+French. Its curves and ovals and circles are annoying after the <i>lignes
+droites</i> and the right angles and the <i>broderies</i> of the French variety.</p>
+
+<p>The For&ecirc;t de Chantilly covers two thousand four hundred and forty-nine
+hectares and extends from the Bois de H&eacute;rivaux on one side to the For&ecirc;t
+de Senlis on the other. The <i>rendezvous-de-chasse</i> was, in the old days,
+and is to-day on rare occasions, at the Rond Point, to which<span class='pagenum'><a name="Page_341" id="Page_341">[Pg 341]</a></span> a dozen
+magnificent forest roads lead from all directions, that from the town
+being paved with Belgian blocks, the dread of automobilists, but
+delightful to ride over in muddy weather. The Route de Connetable, so
+called, is well-nigh ideal of its kind. It launches forth opposite the
+chateau and at its entrance are two flanking stone lions. It is of a
+soft soil suitable for horseback riding, but entirely unsuited for
+wheeled traffic of any kind.</p>
+
+<p>Another of the great forest roads leads to the Chateau de la Reine
+Blanche, a diminutive edifice in the pointed style, with a pair of
+svelte towers coiffed candle-snuffer fashion. Tradition, and very
+ancient and somewhat dubious tradition, attributes the edifice as having
+belonged to Blanche de Navarre, the wife of Philippe de Valois. Again it
+is thought to have been a sort of royal attachment to the Abbaye de
+Royaumont, built near by, by Saint Louis. This quaintly charming manor
+of minute dimensions was a tangible, habitable abode in 1333, but for
+generations after appears to have fallen into desuetude. A mill grew up
+on the site, and again the walls of a chateau obliterated the more
+mundane, work-a-day mill. The Duc de Bourbon restored the whole place in
+1826 that it might serve him and his noble friends as a hunting-lodge.<span class='pagenum'><a name="Page_342" id="Page_342">[Pg 342]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XXI" id="CHAPTER_XXI"></a>CHAPTER XXI</h2>
+
+<h3>COMPI&Eacute;GNE AND ITS FOREST</h3>
+
+
+<p>One of the most talked of and the least visited of the minor French
+palaces is that of Compi&egrave;gne. The archeologists coming to Compi&egrave;gne
+first notice that all its churches are "<i>malorient&eacute;es</i>." It is a minor
+point with most folk, but when one notes that its five churches have
+their high altars turned to all points of the compass, instead of to the
+east, it is assuredly a fact to be noticed, even if one is more
+romantically inclined than devout.</p>
+
+<p>Through and through, Compi&egrave;gne, its palace, its hotel-de-ville, its
+forest, is delightful. Old and new huddle close together, and the <i>art
+nouveau</i> decorations of a branch of a great Parisian department store
+flank a butcher's stall which looks as though it might have come down
+from the times when all trading was done in the open air.</p>
+
+<p>Compi&egrave;gne's origin goes back to the antique. It was originally
+Compendium, a Roman station situated on the highway between Soissons and
+Beauvais. A square tower, C&aelig;sar's Tower,<span class='pagenum'><a name="Page_343" id="Page_343">[Pg 343]</a></span> gave a military aspect to the
+walled and fortified station, and evidences are not wanting to-day to
+suggest with what strength its fortifications were endowed.</p>
+
+
+<div class="figcenter" style="width: 489px;">
+<img src="images/illus433tb.jpg" width="489" height="650" alt="" title="Compi&egrave;gne" />
+<span class="link"><a href="images/illus433.jpg">View larger image</a></span>
+
+</div>
+
+
+<p>It was here that the first Frankish kings built their dwelling, and here
+that Pepin-le-Bref received the gracious gift of an organ from the<span class='pagenum'><a name="Page_344" id="Page_344">[Pg 344]</a></span>
+Emperor Constantine, and here, in 833, that an assembly of bishops and
+nobles deposed Louis-le-D&eacute;bonnaire.</p>
+
+<p>Charles-le-Chauve received Pope Jean VIII in great pomp in the palace at
+Compi&egrave;gne, and it was this Pope who gave absolution to Louis-le-Begue,
+who died here but a year after, 879. The last of the Carlovingians,
+Louis V (le-Faineant), died also at Compi&egrave;gne in 987.</p>
+
+<p>The city is thus shown to have been a favourite place of sojourn for the
+kings of the Franks, and those of the first and second races. As was but
+obvious many churchly councils were held here, fourteen were recorded in
+five centuries, but none of great ecclesiastical or civil purport.</p>
+
+<p>The city first got its charter in 1153, but the Merovingian city having
+fallen into a sort of galloping decay Saint Louis gave it to the
+Dominicans in 1260, who here founded, by the orders of the king, a Hotel
+Dieu which, in part, is the same edifice which performs its original
+functions to-day.</p>
+
+<p>The first great love of Compi&egrave;gne was expressed by Charles V, who
+rebuilt the palace of Charles-le-Chauve in a manner which was far from
+making it a monumental or artistically disposed edifice. It was
+originally called the<span class='pagenum'><a name="Page_345" id="Page_345">[Pg 345]</a></span> Louvre, from the Latin word <i>opus</i>
+(<i>l'&oelig;uvre</i>), a word which was applied to all the chateaux-forts of
+these parts. The same monarch did better with the country-houses which
+he afterwards built at Saint Germain and Vincennes; perhaps by this time
+he had grown wise in his dealings with architects.</p>
+
+<p>Like all the little towns of the Valois, Compi&egrave;gne abounds in souvenirs
+of the Guerre de Cent Ans, Jeanne d'Arc, Louis XIV, Louis XV, Napoleon I
+and Napoleon III, and as its monuments attest this glory, so its forest,
+one of the finest in France, awakens almost as many historical memories.</p>
+
+<p>Wars and rumors of war kept Compi&egrave;gne in a turmoil for centuries, but
+the most theatrical episode was the famous "<i>sortie</i>" made by Jeanne
+d'Arc when she was attempting to defend the city against the combined
+English and Burgundian troops. It was an episode in which faint heart,
+perhaps treason, played an unwelcome part, for while the gallant maid
+was taking all manner of chances outside the gates the military
+governor, Guillaume de Flavy, ordered the barriers of the great portal
+closed behind her and her men.</p>
+
+<p>Near the end of the Pont de Saint Louis Jeanne d'Arc fell into the hands
+of the besiegers. An<span class='pagenum'><a name="Page_346" id="Page_346">[Pg 346]</a></span> archer from Picardy captured her single handed,
+and, for a round sum in silver or in kind, turned her over to her
+torturer, Jean de Luxembourg. A statue of the maid is found on the
+public "Place," and the Tour Jeanne d'Arc, a great circular donjon of
+the thirteenth century, is near by. Another souvenir is to be found in
+the ancient Hotel de B&oelig;uf, at No. 9 Rue de Paris, where the maid
+lodged from the eighteenth to the twenty-third of August, 1429, awaiting
+the entry of Charles VII.</p>
+
+<p>With the era of Francis I that gallant and fastidious monarch came to
+take up his residence at Compi&egrave;gne. He here received his "friend and
+enemy," Charles V, but strangely enough there is no monument in
+Compi&egrave;gne to-day which is intimately associated with the stay here of
+the art-loving Francis. He preferred, after all, his royal manor at
+Villers-Cotterets near by. There was more privacy there, and it formed
+an admirable retreat for such moments when the king did not wish to bask
+in publicity, and these moments were many, though one might not at first
+think so when reading of his affairs of state. There were also affairs
+of the heart which, to him, in many instances, were quite as important.
+This should not be forgotten.<span class='pagenum'><a name="Page_347" id="Page_347">[Pg 347]</a></span></p>
+
+<p>In 1624 a treaty was signed at Compi&egrave;gne which assured the alliance of
+Louis XIII with the United Provinces, and during this reign the court
+was frequently in residence here. In 1631 Marie de M&eacute;dici, then a
+prisoner in the palace, made a notable escape and fled, doomed ever
+afterwards to a vagabond existence, a terrible fall for her once proud
+glory, to her death in a Cologne garret ten years later.</p>
+
+<p>In 1635 the Grand Chancellor of Sweden signed a treaty here which
+enabled France to mingle in the affairs of the Thirty Years' War.</p>
+
+<p>During the Fronde, that "Woman's War," which was so entirely
+unnecessary, Anne d'Autriche held her court in the Palace of Compi&egrave;gne
+and received Christine de Suede on certain occasions when that royal
+lady's costume was of such a grotesque nature, and her speech so
+<i>chevaleresque</i>, that she caused even a scandal in a profligate court.
+Anne d'Autriche, too, left Compi&egrave;gne practically a prisoner; another
+<i>m&eacute;nage &agrave; trois</i> had been broken up.</p>
+
+<p>The most imposing event in the history of Compi&egrave;gne of which the
+chronicles tell was the assembling of sixty thousand men beneath the
+walls by Louis XIV, in order to give Madame de Maintenon a realistic
+exhibition of "playing soldiers." At all events the demonstration was<span class='pagenum'><a name="Page_348" id="Page_348">[Pg 348]</a></span> a
+bloodless one, and an immortal page in Saint-Simon's "Memoires"
+consecrates this gallantry of a king in a most subtle manner.</p>
+
+<p>Another fair lady, a royal favourite, too, came on the scene at
+Compi&egrave;gne in 1769 when Madame du Barry was the principal <i>artiste</i> in
+the great f&ecirc;te given in her honour by Louis XV. She was lodged in a tiny
+chateau (built originally for Madame de Pompadour) a short way out of
+town on the Soissons road.</p>
+
+<p>Du Barry must have been a good fairy to Compi&egrave;gne for Louis XV lavished
+an abounding care on the chateau and, rather than allow the architect,
+Jacques Ange Gabriel, have the free hand that his counsellors advised,
+sought to have the ancient outlines of the former structure on the site
+preserved and thus present to posterity through the newer work the two
+monumental fa&ccedil;ades which are to be seen to-day. The effort was not
+wholly successful, for the architect actually did carry out his fancy
+with respect to the decoration in the same manner in which he had
+designed the &Eacute;cole Militaire at Paris and the two colonnaded edifices
+facing upon the Place de la Concorde.</p>
+
+<p>This work was entirely achieved when Louis XVI took possession. This
+monarch, in 1780, caused to be fitted up a most elaborate apartment<span class='pagenum'><a name="Page_349" id="Page_349">[Pg 349]</a></span> for
+the queen (his marriage with Marie Antoinette was consecrated here), but
+that indeed was all the hand he had in the work of building at
+Compi&egrave;gne, which has practically endured as his predecessor left it. The
+Revolution and Consulate used the chateau as their fancy willed, and
+rather harshly, but in 1806 its restoration was begun and Charles IV of
+Spain, upon his dethronement by Napoleon, was installed therein a couple
+of years later.</p>
+
+<p>The palace, the park and the forest now became a sort of royal appanage
+of this Spanish monarch, which Napoleon, in a generous spirit, could
+well afford to will him. He lived here some months and then left
+precipitately for Marseilles.</p>
+
+<p>Napoleon affected a certain regard for this palatial property, though
+only occupying it at odd moments. He embellished its surroundings, above
+all its gardens, in a most lavish manner. Virtually, all things
+considered, Compi&egrave;gne is a <i>Palais Napoleonien</i>, and if one would study
+the style of the Empire at its best the thing may be done at Compi&egrave;gne.</p>
+
+<p>On July 30, 1814, Louis XVIII and Alexander of Russia met at Compi&egrave;gne
+amid a throng of Paris notabilities who had come thither for the
+occasion.</p>
+
+<p>Charles X loved to hunt in the forest of Com<span class='pagenum'><a name="Page_350" id="Page_350">[Pg 350]</a></span>pi&egrave;gne. In 1832, one of the
+daughters of Louis-Philippe, the Princesse Louise, was married to the
+King of the Belgians in this palace.</p>
+
+<p>From 1852 to 1870 the palace and its grounds were the scenes of many
+imperial f&ecirc;tes.</p>
+
+<p>Napoleon III had for Compi&egrave;gne a particular predilection. The
+prince-president, in 1852, installed himself here for the autumn season,
+and among his guests was that exquisite blond beauty, Eugenie Montijo,
+who, the year after, was to become the empress of the French. Faithful
+to the memory of his uncle, by reason of a romantic sentiment, the Third
+Napoleon came frequently to Compi&egrave;gne; or perhaps it was because of the
+near-by hunt, for he was a passionate disciple of Saint Hubert. It was
+his Versailles!</p>
+
+<p>The palace of Compi&egrave;gne as seen to-day presents all the classic coldness
+of construction of the reign of Louis XV. Its lines were severe and that
+the building was inspired by a genius is hard to believe, though in
+general it is undeniably impressive. Frankly, it is a mocking, decadent
+eighteenth century architecture that presents itself, but of such vast
+proportions that one sets it down as something grand if not actually of
+surpassing good taste.</p>
+
+<p>In general the architecture of the palace presents at first glance a
+coherent unit, though in<span class='pagenum'><a name="Page_351" id="Page_351">[Pg 351]</a></span> reality it is of several epochs. Its
+furnishings within are of different styles and periods, not all of them
+of the best. Slender gold chairs, false reproductions of those of the
+time of Louis XV, and some deplorable tapestries huddle close upon
+elegant "<i>berg&egrave;res</i>" of Louis XVI, and sofas, tables and bronzes of
+master artists and craftsmen are mingled with cheap castings unworthy of
+a stage setting in a music hall. A process of adroit eviction will some
+day be necessary to bring these furnishings up to a consistent plane of
+excellence.</p>
+
+<p>One of the fa&ccedil;ades is nearly six hundred feet in length, with forty-nine
+windows stretching out in a single range. It might be the front of an
+automobile factory if it were less ornate, or that of an exposition
+building were it more beautiful. In some respects it is reminiscent of
+the Palais Royal at Paris, particularly as to the entrance colonnade and
+gallery facing the Louvre.</p>
+
+<p>The chief beauty within is undoubtedly the magnificent stairway, with
+its balustrade of wrought iron of the period of Louis XVI. The Salle de
+Spectacle is of a certain Third Empire-Louis Napoleon distinction, which
+is saying that it is neither very lovely nor particularly plain, simply
+ordinary, or, to give it a French turn of phrase, vulgar.<span class='pagenum'><a name="Page_352" id="Page_352">[Pg 352]</a></span></p>
+
+<p>One of the most remarkable apartments is the Salle des Cartes, the old
+salon of the Aides de Camp, whose walls are ornamented with three great
+plans showing the roads and by-paths of the forest, and other decorative
+panels representing the hunt of the time of Louis XV.</p>
+
+<div class="figcenter" style="width: 398px;">
+<img src="images/illus443.jpg" width="398" height="600" alt="Napoleon&#39;s Bedchamber, Compi&egrave;gne" title="" />
+<span class="caption"><i>Napoleon&#39;s Bedchamber, Compi&egrave;gne</i></span>
+</div>
+
+<p>The Chambre &agrave; Coucher of the great Napoleon is perhaps the most
+interesting of all the smaller apartments, with its strange bed, which
+in form more nearly resembles an oriental divan than anything European.
+Doubtless it is not uncomfortable as a bed, but it looks more like a
+tent, or camp, in the open, than anything essentially intended for
+domestic use within doors. After the great Napoleon, his nephew Napoleon
+III was its most notable occupant, though it was last slept in by the
+Tzar Nicholas II, when he visited France in 1901.</p>
+
+<p>The sleeping-room of the Empress Eugenie is fitted up after the style of
+the early Empire with certain interpolations of the mid-nineteenth
+century. The most distinct feature here is the battery of linen coffers
+which Marie Louise had had especially designed and built. The Salon des
+Dames d'Honneur, with its double rank of nine "scissors chairs," the
+famous <i>tabourets de cour</i>, lined up rigidly before the <i>canap&eacute;</i> on
+which the empress rested, is certainly a re<span class='pagenum'><a name="Page_353" id="Page_353">[Pg 353]</a></span>markable apartment. This
+was the <i>decor</i> of convention that Madame Sans Gene rendered classic.</p>
+
+
+
+<p>Like all the French national palaces Compi&egrave;gne has a too abundant
+collection of Sevres vases set about in awkward corners which could not
+otherwise be filled, and, beginning with the vestibule, this thing is
+painfully apparent.</p>
+
+<p>The apartments showing best the Napoleonic style in decorations and
+furnishings are the Salon des Huissiers, the Salle des Gardes, the
+Escalier d'Apollon, the Salle de Don Quichotte&mdash;which contains a series
+of designs destined to have served for a series of tapestries intended
+to depict scenes in the life of the windmill knight&mdash;the Galerie des
+F&ecirc;tes, the Galerie des Cerfs, the Salle Coypel, the Salle des Stucs and
+the Salon des Fleurs, through which latter one approaches the royal
+apartments.</p>
+
+<p>In the sixteenth century, or, more exactly, between 1502 and 1510, was
+constructed Compi&egrave;gne's handsome Hotel de Ville, one of the most
+delightful architectural mixtures of Gothic and Renaissance extant. It
+is an architectural monument of the same class as the Palais de Justice
+at Rouen or the Hotel Cluny at Paris. Its frontispiece is marvellous,
+the <i>rez-de-chauss&eacute;e</i> less gracious than the rest perhaps, but with the<span class='pagenum'><a name="Page_354" id="Page_354">[Pg 354]</a></span>
+first story blooming forth as a gem of magnificent proportions and
+setting. Between the four windows of this first story are posed
+statuesque effigies of Charles VII, Jeanne d'Arc, Saint R&eacute;my and Louis
+IX. In the centre, in a niche, is an equestrian statue of Louis XII, who
+reigned when this monument was being built. A <i>balustrade &agrave; jour</i>
+finishes off this story, which, in turn, is overhung with a high, peaked
+gable, and above rise the belfry and its spire, of which the great clock
+dates from 1303, though only put into place in 1536. The only false note
+is sounded by the two insignificant, cold and unlovely wings which flank
+the main structure on either side.</p>
+
+<p>It is a sixteenth century construction unrivalled of its kind in all
+France, more like a Belgian town-hall belfry than anything elsewhere to
+be seen outside Flanders, but it is not of the low Spanish-Renaissance
+order as are so many of the imposing edifices of occidental and oriental
+Flanders. It is a blend of Gothic and Renaissance, and, what is still
+more rare, the best of Gothic and the best of Renaissance. Above its
+fa&ccedil;ade is a civic belfry, flanked by two slender towers. Within the
+portal-vestibule rises a monumental stairway which must have been the
+inspiration of many a builder of modern opera-houses.<span class='pagenum'><a name="Page_355" id="Page_355">[Pg 355]</a></span></p>
+
+<p>Opposite the Hotel Dieu is the poor, rent relic of the Tour de Jeanne
+d'Arc, originally a cylindrical donjon of the twelfth century, wherein
+"La Pucelle" was imprisoned in 1430.</p>
+
+<p>Between the palace and the river are to be seen many vestiges of the
+medi&aelig;val ramparts of the town, and here and there a well-defined base of
+a gateway or tower. Medi&aelig;valism is rampant throughout Compi&egrave;gne.</p>
+
+<p>The park surrounding the palace is quite distinct from the wider radius
+of the F&ocirc;ret de Compi&egrave;gne. It is of the secular, conventional order, and
+its perspectives, looking towards the forest from the terrace and vice
+versa, are in all ways satisfying to the eye.</p>
+
+<p>One of the most striking of these alleyed vistas was laid out under the
+orders of the first Napoleon in 1810. It loses itself in infinity,
+almost, its horizon blending with that of the far distant Beaux Monts in
+the heart of the forest.</p>
+
+<p>In the immediate neighbourhood of the palace are innumerable statues,
+none of great beauty, value or distinction. On the south side runs a
+Cours, or Prado, as it would be called in Catalonia. The word Cours is
+of Proven&ccedil;al origin, and how it ever came to be transplanted here is a
+mystery. Still here it is, a great tree-shaded promenade running to the
+river. The climate<span class='pagenum'><a name="Page_356" id="Page_356">[Pg 356]</a></span> of Compi&egrave;gne is never so blazing hot as to make this
+Cours so highly appreciated as its namesakes in the Midi, but as an
+exotic accessory to the park it is quite a unique delight.</p>
+
+<p>Within the park may still be traced the outlines of the moat which
+surrounded the palace of Charles V, as well as some scanty remains of
+the same period.</p>
+
+<div class="figcenter" style="width: 650px;">
+<img src="images/illus449.jpg" width="650" height="374" alt="Cours de Compi&egrave;gne" title="" />
+<span class="caption"><i>Cours de Compi&egrave;gne</i></span>
+</div>
+
+<p>Another distinctive feature is the famous <i>Berceau en Fer</i>, an iron
+trellis several thousands of feet in length, which was built by Napoleon
+I as a reminder to Marie Louise of a similar, but smaller, garden
+accessory which she had known at Schoenbrunn. It was a caprice, if you
+like, and rather a futile one since it was before the time when
+artistically worthless things were the rage just because of their
+gigantic proportions. Napoleon III cut it down in part, and pruned it to
+more esthetic proportions, and what there is left, vine and flower
+grown, is really charming.</p>
+
+<p>The For&ecirc;t de Compi&egrave;gne as a historic wildwood goes back to the Druids
+who practiced their mysterious rites under its antique shade centuries
+before the coming of the kings, who later called it their own special
+hunting preserve. Stone hatchets, not unlike the tomahawks of the red
+man, have been found and traced back&mdash;well, definitely to the Stone
+Age,<span class='pagenum'><a name="Page_357" id="Page_357">[Pg 357]</a></span> and supposedly to the time when they served the Druids for their
+sacrifices.</p>
+
+
+<p>The soldiers of C&aelig;sar came later and their axes were of iron or copper,
+and though on the warpath, too, their way was one which was supposed to
+lead civilization into the wilderness. Innumerable traces of the Roman
+occupation are to be found in the forest by those who know how to read
+the signs; twenty-five different localities have been marked down by the
+archeologists as having been stations on the path blazed by the Legions
+of Rome.</p>
+
+<p>After the Romans came the first of the kings as proprietors of the
+forest, and in the moyen-age the monks, the barons and the crown itself
+shared equally the rights of the forest.</p>
+
+<p>Legends of most weird purport are connected with various points
+scattered here and there throughout the forest, as at the Fosse Dupuis
+and the Table Ronde, where a sort of "trial by fire" was held by the
+barons whenever a seigneur among them had conspired against another.
+Ariosto, gathering many of his legends from the works of the old French
+chroniclers, did not disdain to make use of the For&ecirc;t de Compi&egrave;gne as a
+stage setting.</p>
+
+<p>During the reign of Clothaire the forest was known as the For&ecirc;t de
+Cuise, because of a royal<span class='pagenum'><a name="Page_358" id="Page_358">[Pg 358]</a></span> palace hidden away among the Druid oaks which
+bore the name of Cotia, or Cusia. Until 1346 the palace existed in some
+form or other, though shorn of royal dignities. It was at this period
+that Philippe VI divided the forests of the Valois into three distinct
+parts in order to better regulate their exploitation.</p>
+
+<p>The Frankish kings being, it would seem, inordinately fond of <i>la
+chasse</i> the For&ecirc;t de Compi&egrave;gne, in the spring and autumn, became their
+favorite rendezvous. Alcuin, the historian, noted this fact in the
+eighth century, and described this earliest of royal hunts in some
+detail. In 715 the forest was the witness of a great battle between the
+Austrasians and the Neustrians.</p>
+
+<p>Before Francis I with his habitual initiative had pierced the eight
+great forest roads which come together at the octagon called the Puits
+du Roi, the forest was not crossed by any thoroughfare; the nearest
+thing thereto was the Chauss&eacute;e de Brunhaut, a Roman way which bounded it
+on the south and east.</p>
+
+<p>Louis XIV and Louis XV, in turn, cut numerous roads and paths, and to
+the latter were due the crossroads known as the Grand Octagone and the
+Petit Octagone.</p>
+
+<p>It was over one of these great forest roads, that leading to Soissons,
+that Marie Louise,<span class='pagenum'><a name="Page_359" id="Page_359">[Pg 359]</a></span> accompanied by a cort&egrave;ge of three hundred persons,
+eighty conveyances and four hundred and fifty horses, journeyed in a
+torrential rain, in March 1807, when she came to France to found a
+dynasty.</p>
+
+<p>A marriage had been consummated by procuration at Vienna, and she set
+out to actually meet her future spouse for the first time at Soissons.
+At the little village of Courcelles, on the edge of the forest between
+Soissons and Compi&egrave;gne, two men enveloped in great protecting cloaks had
+arrived post-haste from Compi&egrave;gne. At the parish church they stopped a
+moment and took shelter under the porch, impatiently scanning the
+horizon. Finally a lumbering <i>berlin de voyage</i> lurched into view, drawn
+by eight white horses. In its depths were ensconced two women richly
+dressed, one a beautiful woman of mature years, the other a young girl
+scarce eighteen years.</p>
+
+<p>The most agitated of the men, he who was clad in a gray redingote,
+sprang hastily to the carriage door. He was introduced by the older
+woman as "<i>Sa Majest&eacute; l'Empereur des Fran&ccedil;aises, mon frere</i>." The
+speaker was one of the sisters of Napoleon, Caroline, Queen of Naples;
+the other was the Archduchess Marie Louise, daughter of Franz II,
+Emperor of Austria.<span class='pagenum'><a name="Page_360" id="Page_360">[Pg 360]</a></span></p>
+
+<p>An imposing ceremonial had been planned for Soissons and the court had
+been ordered to set out from Compi&egrave;gne with the emperor, in order to
+arrive at Soissons in due time. When the actual signal for the departure
+was given the emperor was nowhere to be found. As usual he had
+anticipated things.</p>
+
+<p>For weeks before the arrival of the empress to be Napoleon had passed
+the majority of his waking hours at Paris in the apartments which he had
+caused to be prepared for Marie Louise. He selected the colour of the
+furnishings, and superintended the very placing of the furniture. Among
+other things he had planned a boudoir which alone represented an
+expenditure of nearly half a million francs.</p>
+
+<p>Lejeune, who had accompanied Mar&eacute;chal Berthier to Vienna to arrange the
+marriage, had returned and given his imperial master a glowing
+description of the charms of the young archduchess who was to be his
+bride. The emperor compared his ideal with her effigy on medals and
+miniatures and then worked even more ardently than before that her
+apartments should be worthy of her when she arrived.</p>
+
+<p>It was just following upon this fever of excitement that Napoleon and
+the court had repaired to Compi&egrave;gne. So restless was the emperor that<span class='pagenum'><a name="Page_361" id="Page_361">[Pg 361]</a></span>
+he could hardly bide the time when the archduchess should arrive, and it
+was thus that he set out with Murat to meet the approaching cort&egrave;ge.</p>
+
+<p>The pavilion which had been erected for the meeting was left to the
+citizens of the neighbourhood, and the marvellous banquet which had been
+prepared by Bausset was likewise abandoned. Napoleon had no time to
+think of dining.</p>
+
+<p>All the roadside villages between Soissons and Compi&egrave;gne were hung with
+banners, and the populace appeared to be as highly excited as the
+contracting parties. It still rained a deluge, but this made no
+difference. Two couriers at full gallop came first to Compi&egrave;gne, crying:
+"Place": "Place": The eight white horses and the <i>berlin de voyage</i>
+followed. Before one had hardly time to realize what was passing,
+Napoleon and his bride whisked by in a twinkling.</p>
+
+<p>At nine o'clock an outpost in the park at Compi&egrave;gne announced the
+arrival of the emperor and his train. At ten o'clock a cannon shot rang
+out over the park and the emperor and empress passed into the chateau to
+proceed with certain indispensable presentations; then to souper, a
+<i>petite souper intime</i>, we are assured.</p>
+
+<p>On the morrow all the world of the assembled court met the empress and
+avowed that she had that specious <i>beaut&eacute; du diable</i> which has ever<span class='pagenum'><a name="Page_362" id="Page_362">[Pg 362]</a></span>
+pleased the French connoisseur of beautiful women. They went further,
+however, and stated that in spite of this ravishing beauty she lacked
+the elegance which should be the possession of an empress of the French.
+The faithful Berthier silenced them with the obvious statement that
+since she pleased the emperor there was nothing more to be said, or
+thought.</p>
+
+<p>Flying northward on the great highroad leading out from Paris to
+Chantilly and Compi&egrave;gne gadabout travellers have never a thought that
+just beyond Pont Saint Maxence, almost in plain view from the doorway of
+the Inn of the Lion d'Argent of that sleepy little town, is a gabled
+wall which represents all that remains of the "Maison de Philippe de
+Beaumanoir," called the Cour Basse.</p>
+
+<h4>THE END</h4>
+
+<p><span class='pagenum'><a name="Page_363" id="Page_363">[Pg 363]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+<p><span class='pagenum'><a name="Page_465" id="Page_465">[Pg 465]</a></span></p><p><span class='pagenum'><a name="Page_464" id="Page_464">[Pg 464]</a></span></p><p><span class='pagenum'><a name="Page_463" id="Page_463">[Pg 463]</a></span></p><p><span class='pagenum'><a name="Page_462" id="Page_462">[Pg 462]</a></span></p><p><span class='pagenum'><a name="Page_461" id="Page_461">[Pg 461]</a></span></p><p><span class='pagenum'><a name="Page_460" id="Page_460">[Pg 460]</a></span></p><p><span class='pagenum'><a name="Page_459" id="Page_459">[Pg 459]</a></span></p><p><span class='pagenum'><a name="Page_458" id="Page_458">[Pg 458]</a></span></p>
+
+
+<ul class="none"><li><span style="margin-left: 1.5em;"><i>Aiguillon</i>, Duchesse d', <a href='#Page_217'><b>217</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Alcuin</i>, <a href='#Page_358'><b>358</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Alexander</i>, Emperor, <a href='#Page_221'><b>221</b></a>, <a href='#Page_330'><b>330</b></a>, <a href='#Page_349'><b>349</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Alphonse XIII of Spain</i>, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Amboise, <a href='#Page_26'><b>26</b></a>, <a href='#Page_28'><b>28</b></a>, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Amboise, Bussy d'</i>, <a href='#Page_72'><b>72</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ancre, Mar&eacute;chal d'</i>, <a href='#Page_67'><b>67</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Andelot, Coligny d'</i>, <a href='#Page_72'><b>72</b></a>-<a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Andilly, Arnauld d'</i>, <a href='#Page_267'><b>267</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Anet, Chateau d', <a href='#Page_29'><b>29</b></a>, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Angennes, Jacques d'</i>, <a href='#Page_44'><b>44</b></a>, <a href='#Page_299'><b>299</b></a>, <a href='#Page_311'><b>311</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Angers, Chateau d', <a href='#Page_22'><b>22</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Anglas, Boissy d'</i>, <a href='#Page_114'><b>114</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Angouleme, Duchesse d'</i>, <a href='#Page_321'><b>321</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Anjou, Ducs d'</i>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_212'><b>212</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Anne of Austria</i>, <a href='#Page_96'><b>96</b></a>-<a href='#Page_97'><b>97</b></a>, <a href='#Page_136'><b>136</b></a>-<a href='#Page_137'><b>137</b></a>, <a href='#Page_284'><b>284</b></a>-<a href='#Page_287'><b>287</b></a>, <a href='#Page_289'><b>289</b></a>, <a href='#Page_347'><b>347</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Arc, Jeanne d'</i>, <a href='#Page_345'><b>345</b></a>-<a href='#Page_346'><b>346</b></a>, <a href='#Page_354'><b>354</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ardennes, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Arlors, <a href='#Page_25'><b>25</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Artois, Comtesse d'</i>, <a href='#Page_176'><b>176</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Aubert, Jean</i>, <a href='#Page_333'><b>333</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Aubign&eacute;, D'</i>, <a href='#Page_299'><b>299</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Aumale, Duc d'</i>, <a href='#Page_29'><b>29</b></a>, <a href='#Page_327'><b>327</b></a>, <a href='#Page_331'><b>331</b></a>-<a href='#Page_332'><b>332</b></a>, <a href='#Page_335'><b>335</b></a>, <a href='#Page_338'><b>338</b></a>, <a href='#Page_339'><b>339</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Auvergne, Louis d'</i>, <a href='#Page_162'><b>162</b></a>-<a href='#Page_163'><b>163</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ayen, Duc d'</i>, <a href='#Page_299'><b>299</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;">Bagatelle, Chateau de, <a href='#Page_163'><b>163</b></a>, <a href='#Page_203'><b>203</b></a>-<a href='#Page_206'><b>206</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bailly, Sylvain</i>, <a href='#Page_104'><b>104</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Barb&eacute;s</i>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Barbison, <a href='#Page_200'><b>200</b></a>-<a href='#Page_201'><b>201</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Baril, Jean</i>, <a href='#Page_25'><b>25</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Barry, Mme. du</i>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_242'><b>242</b></a>-<a href='#Page_243'><b>243</b></a>, <a href='#Page_245'><b>245</b></a>, <a href='#Page_250'><b>250</b></a>, <a href='#Page_275'><b>275</b></a>, <a href='#Page_329'><b>329</b></a>, <a href='#Page_348'><b>348</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bassompierre</i>, <a href='#Page_195'><b>195</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bastille, <a href='#Page_71'><b>71</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bausset</i>, <a href='#Page_361'><b>361</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bavi&egrave;re, Isabeau de</i>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_182'><b>182</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Beauharnais, Eugene</i>, <a href='#Page_220'><b>220</b></a>, <a href='#Page_222'><b>222</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Beauharnais, Hortense</i>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_220'><b>220</b></a>, <a href='#Page_221'><b>221</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Beaujon</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Beaumont, Cardinal de</i>, <a href='#Page_179'><b>179</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Beauvais, Hotel de, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Becker, General</i>, <a href='#Page_221'><b>221</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Becket, Thomas &agrave;</i>, <a href='#Page_182'><b>182</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bedford, Duke of</i>, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Belleveu</i>, <a href='#Page_241'><b>241</b></a>-<a href='#Page_242'><b>242</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Berquin, Louis de</i>, <a href='#Page_67'><b>67</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Berry, Duc de</i>, <a href='#Page_165'><b>165</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Berry, Duchesse de</i>, <a href='#Page_50'><b>50</b></a>, <a href='#Page_321'><b>321</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Berthier, Mar&eacute;chal</i> (see <i>Wagram, Prince de</i>)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Blanchard</i>, <a href='#Page_130'><b>130</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Blanqui</i>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Blois</i>, <a href='#Page_21'><b>21</b></a>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_305'><b>305</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Blondel</i>, <a href='#Page_37'><b>37</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Blucher</i>, <a href='#Page_173'><b>173</b></a>, <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Boileau</i>, <a href='#Page_328'><b>328</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Boissy, Forest of, <a href='#Page_49'><b>49</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bonaparte, Caroline</i>, <a href='#Page_359'><b>359</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bonaparte, Jerome</i>, <a href='#Page_147'><b>147</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bonaparte, Louis</i>, <a href='#Page_235'><b>235</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bonaparte, Lucien</i>, <a href='#Page_145'><b>145</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bonheur, Rosa</i>, <a href='#Page_202'><b>202</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bordeaux, Duc de</i>, <a href='#Page_166'><b>166</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Borghese, Princesse</i>, <a href='#Page_208'><b>208</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bossuet</i>, <a href='#Page_328'><b>328</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Boulanger</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Boull&eacute;e</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Boulogne, Bois de, <a href='#Page_168'><b>168</b></a>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_203'><b>203</b></a>, <a href='#Page_206'><b>206</b></a>, <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bourbon Family</i>, <a href='#Page_164'><b>164</b></a>-<a href='#Page_165'><b>165</b></a>, <a href='#Page_329'><b>329</b></a>, <a href='#Page_331'><b>331</b></a>, <a href='#Page_341'><b>341</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bourbon, Palais, <a href='#Page_120'><b>120</b></a>, <a href='#Page_159'><b>159</b></a>-<a href='#Page_161'><b>161</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bourdaloue</i>, <a href='#Page_328'><b>328</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bourg-la-Reine, <a href='#Page_3'><b>3</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Boyceau</i>, <a href='#Page_30'><b>30</b></a>, <a href='#Page_262'><b>262</b></a>, <a href='#Page_270'><b>270</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Breton, Mme. de</i>, <a href='#Page_121'><b>121</b></a>-<a href='#Page_122'><b>122</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Brunet</i>, <a href='#Page_223'><b>223</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Brunswick, Duchesse de</i>, <a href='#Page_154'><b>154</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Bullant, Jean</i>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_327'><b>327</b></a>, <a href='#Page_336'><b>336</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Cadoudal</i>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cambac&egrave;res, Consul</i>, <a href='#Page_115'><b>115</b></a>-<a href='#Page_116'><b>116</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cardinal, Palais (<i>see</i> Royal, Palais)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Carpeaux</i>, <a href='#Page_118'><b>118</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Carrier-Belleuse</i>, <a href='#Page_202'><b>202</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cartouche</i>, <a href='#Page_67'><b>67</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cellini</i>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_192'><b>192</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chabanne, Comte de</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chabrol</i>, <a href='#Page_147'><b>147</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chalgrin</i>, <a href='#Page_154'><b>154</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chambiges, Pierre</i>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_281'><b>281</b></a>-<a href='#Page_282'><b>282</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Chamblay, <a href='#Page_54'><b>54</b></a>-<a href='#Page_56'><b>56</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Chambord, <a href='#Page_71'><b>71</b></a>, <a href='#Page_86'><b>86</b></a>, <a href='#Page_310'><b>310</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chamillard, Michael</i>, <a href='#Page_252'><b>252</b></a>-<a href='#Page_253'><b>253</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Champaigne, Philippe de</i>, <a href='#Page_135'><b>135</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Champollion-Fig&egrave;ac</i>, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Chantilly, Chateau and Forest of, <a href='#Page_324'><b>324</b></a>-<a href='#Page_340'><b>340</b></a>, <a href='#Page_362'><b>362</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chappell, Comte des</i>, <a href='#Page_72'><b>72</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Charenton, <a href='#Page_152'><b>152</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charlemagne</i>, <a href='#Page_18'><b>18</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_281'><b>281</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles II</i>, <a href='#Page_344'><b>344</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles V</i>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_23'><b>23</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_62'><b>62</b></a>-<a href='#Page_63'><b>63</b></a>, <a href='#Page_66'><b>66</b></a>, <a href='#Page_68'><b>68</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_82'><b>82</b></a>-<a href='#Page_84'><b>84</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_247'><b>247</b></a>, <a href='#Page_281'><b>281</b></a>, <a href='#Page_327'><b>327</b></a>, <a href='#Page_344'><b>344</b></a>, <a href='#Page_356'><b>356</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles VI</i>, <a href='#Page_63'><b>63</b></a>, <a href='#Page_66'><b>66</b></a>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_176'><b>176</b></a>-<a href='#Page_177'><b>177</b></a>, <a href='#Page_229'><b>229</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles VII</i>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_346'><b>346</b></a>, <a href='#Page_354'><b>354</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles VIII</i>, <a href='#Page_21'><b>21</b></a>, <a href='#Page_299'><b>299</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles IX</i>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_91'><b>91</b></a>-<a href='#Page_94'><b>94</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_108'><b>108</b></a>-<a href='#Page_110'><b>110</b></a>, <a href='#Page_171'><b>171</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_291'><b>291</b></a>, <a href='#Page_312'><b>312</b></a>, <a href='#Page_327'><b>327</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles X</i>, <a href='#Page_57'><b>57</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_173'><b>173</b></a>, <a href='#Page_192'><b>192</b></a>, <a href='#Page_204'><b>204</b></a>, <a href='#Page_212'><b>212</b></a>, <a href='#Page_237'><b>237</b></a>-<a href='#Page_238'><b>238</b></a>, <a href='#Page_303'><b>303</b></a>, <a href='#Page_317'><b>317</b></a>, <a href='#Page_319'><b>319</b></a>-<a href='#Page_320'><b>320</b></a>, <a href='#Page_349'><b>349</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles IV, Emperor</i>, <a href='#Page_63'><b>63</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles V, Emperor</i>, <a href='#Page_85'><b>85</b></a>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_346'><b>346</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles I, of England</i>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_289'><b>289</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charles the Bold of Burgundy</i> (see <i>Charolais, Comte de</i>)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Charolais, Comte de</i>, <a href='#Page_177'><b>177</b></a>-<a href='#Page_178'><b>178</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chartres, Ducs de</i> (see <i>Orleans, Ducs de</i>)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chateauroux, Mme. de</i>, <a href='#Page_250'><b>250</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chatou</i>, <a href='#Page_210'><b>210</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Chenonceaux, <a href='#Page_26'><b>26</b></a>, <a href='#Page_32'><b>32</b></a>, <a href='#Page_71'><b>71</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Chevalier, Etienne</i>, <a href='#Page_339'><b>339</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Childerbert I</i>, <a href='#Page_216'><b>216</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Christina, Queen</i>, <a href='#Page_222'><b>222</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cinq-Mars</i>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_134'><b>134</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Clagny, Chateau de</i>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_277'><b>277</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cl&eacute;ment, Jacques</i>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_230'><b>230</b></a>-<a href='#Page_232'><b>232</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Clothaire</i>, <a href='#Page_357'><b>357</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Clotilde</i>, <a href='#Page_61'><b>61</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Clovis</i>, <a href='#Page_61'><b>61</b></a>, <a href='#Page_76'><b>76</b></a>, <a href='#Page_216'><b>216</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Coictier, Jacques</i>, <a href='#Page_66'><b>66</b></a>, <a href='#Page_152'><b>152</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Colbert</i>, <a href='#Page_3'><b>3</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_269'><b>269</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Coligny, Admiral</i>, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Collo, Jean</i>, <a href='#Page_27'><b>27</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Commynes</i>, <a href='#Page_177'><b>177</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Compi&egrave;gne, Palace and Forest of, <a href='#Page_52'><b>52</b></a>-<a href='#Page_53'><b>53</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_335'><b>335</b></a>, <a href='#Page_342'><b>342</b></a>-<a href='#Page_362'><b>362</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Conciergerie, <a href='#Page_61'><b>61</b></a>, <a href='#Page_65'><b>65</b></a>-<a href='#Page_68'><b>68</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cond&eacute; Family</i>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_269'><b>269</b></a>, <a href='#Page_324'><b>324</b></a>, <a href='#Page_327'><b>327</b></a>-<a href='#Page_331'><b>331</b></a>, <a href='#Page_333'><b>333</b></a>, <a href='#Page_337'><b>337</b></a>, <a href='#Page_339'><b>339</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Conflans, Chateau de, <a href='#Page_2'><b>2</b></a>, <a href='#Page_175'><b>175</b></a>-<a href='#Page_179'><b>179</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Constantine, Emperor</i>, <a href='#Page_344'><b>344</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Consulat, Palais du (<i>see</i> Luxembourg, Palais du)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Conti Family</i>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_242'><b>242</b></a>, <a href='#Page_327'><b>327</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Corneille</i>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_133'><b>133</b></a>, <a href='#Page_151'><b>151</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Corot</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cottereau, Jean</i>, <a href='#Page_299'><b>299</b></a>, <a href='#Page_300'><b>300</b></a>-<a href='#Page_305'><b>305</b></a>, <a href='#Page_307'><b>307</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Courcelles, <a href='#Page_359'><b>359</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cousin, Jean</i>, <a href='#Page_170'><b>170</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Coypel</i>, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Cromwell</i>, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Crozat</i>, <a href='#Page_162'><b>162</b></a></span></li>
+
+<li><br /><span style="margin-left: 1.5em;"><i>Dagobert</i>, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Damiens</i>, <a href='#Page_67'><b>67</b></a>, <a href='#Page_263'><b>263</b></a>-<a href='#Page_264'><b>264</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Dante</i>, <a href='#Page_24'><b>24</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Dardelle</i>, <a href='#Page_123'><b>123</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Daru</i>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Daubigny</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Daumesnil, Baron</i>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Daumet, Henri</i>, <a href='#Page_332'><b>332</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Debanes</i>, <a href='#Page_22'><b>22</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Debrosse, Jacques</i>, <a href='#Page_64'><b>64</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_158'><b>158</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Decamps</i>, <a href='#Page_202'><b>202</b></a>, <a href='#Page_338'><b>338</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Delille, Abb&eacute;</i>, <a href='#Page_143'><b>143</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Delorme, Marion</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Delorme, Philibert</i>, <a href='#Page_34'><b>34</b></a>, <a href='#Page_108'><b>108</b></a>-<a href='#Page_111'><b>111</b></a>, <a href='#Page_189'><b>189</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Denecourt</i>, <a href='#Page_198'><b>198</b></a>-<a href='#Page_199'><b>199</b></a>, <a href='#Page_201'><b>201</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Deput&eacute;s, Chambre des (<i>see</i> Bourbon, Palais)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Desmoulins, Camille</i>, <a href='#Page_145'><b>145</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Diaz</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Directoire, Palais du (<i>see</i> Luxembourg, Palais du)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Donon</i>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Dorbay</i>, <a href='#Page_110'><b>110</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Drouais</i>, <a href='#Page_211'><b>211</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ducamp, Maxine</i>, <a href='#Page_126'><b>126</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ducerceau</i>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_112'><b>112</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ducrot, General</i>, <a href='#Page_222'><b>222</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Dugastz</i>, <a href='#Page_232'><b>232</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Dupaira</i>, <a href='#Page_95'><b>95</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Duperac</i>, <a href='#Page_110'><b>110</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Dupr&eacute;</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Durfort, Madame</i>, <a href='#Page_49'><b>49</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;">Egalit&eacute;, Palais (<i>see</i> Royal, Palais)</span></li>
+
+<li><span style="margin-left: 1.5em;">Enghien, Chateau d', <a href='#Page_340'><b>340</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Enghien, Duc d'</i>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_172'><b>172</b></a>-<a href='#Page_174'><b>174</b></a>, <a href='#Page_331'><b>331</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Epernon, Ducs d'</i>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_232'><b>232</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Erard, Sebastian</i>, <a href='#Page_210'><b>210</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Este, Maria d'</i>, <a href='#Page_290'><b>290</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Estival, Convent of, <a href='#Page_49'><b>49</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Estr&eacute;es, Gabrielle d'</i>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_210'><b>210</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>&Eacute;tampes, Duchesse d'</i>, <a href='#Page_86'><b>86</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_192'><b>192</b></a>, <a href='#Page_294'><b>294</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>&Eacute;toiles, Normand d'</i>, <a href='#Page_204'><b>204</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Eugenie, Empress</i>, <a href='#Page_120'><b>120</b></a>-<a href='#Page_122'><b>122</b></a>, <a href='#Page_125'><b>125</b></a>-<a href='#Page_126'><b>126</b></a>, <a href='#Page_238'><b>238</b></a>, <a href='#Page_350'><b>350</b></a>, <a href='#Page_352'><b>352</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Evans, Dr.</i>, <a href='#Page_122'><b>122</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Falli&egrave;res, President</i>, <a href='#Page_166'><b>166</b></a>-<a href='#Page_167'><b>167</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Famin</i>, <a href='#Page_314'><b>314</b></a>-<a href='#Page_315'><b>315</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Faure, Felix</i>, <a href='#Page_56'><b>56</b></a>, <a href='#Page_58'><b>58</b></a>-<a href='#Page_59'><b>59</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>F&eacute;raud</i>, <a href='#Page_114'><b>114</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ferrare, Duc de</i>, <a href='#Page_70'><b>70</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Flandre, Comte de</i>, <a href='#Page_82'><b>82</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Flavy, Guillaume de</i>, <a href='#Page_345'><b>345</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fleury, Chateau de, <a href='#Page_195'><b>195</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Fontaine</i>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_127'><b>127</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fontainebleau, Forest of, <a href='#Page_6'><b>6</b></a>, <a href='#Page_50'><b>50</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_181'><b>181</b></a>, <a href='#Page_183'><b>183</b></a>, <a href='#Page_196'><b>196</b></a>-<a href='#Page_202'><b>202</b></a>, <a href='#Page_279'><b>279</b></a>, <a href='#Page_294'><b>294</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fontainebleau, Palais de, <a href='#Page_2'><b>2</b></a>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_28'><b>28</b></a>, <a href='#Page_33'><b>33</b></a>, <a href='#Page_34'><b>34</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_180'><b>180</b></a>-<a href='#Page_196'><b>196</b></a>, <a href='#Page_329'><b>329</b></a>, <a href='#Page_335'><b>335</b></a>, <a href='#Page_336'><b>336</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Fouch&eacute;</i>, <a href='#Page_221'><b>221</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Fould</i>, <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Fouquet, Jean</i>, <a href='#Page_339'><b>339</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Fouquet, Nicolas</i>, <a href='#Page_269'><b>269</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Fragonard</i>, <a href='#Page_211'><b>211</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Francine, Thomas and Alexandre</i>, <a href='#Page_196'><b>196</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Francis I</i>, <a href='#Page_8'><b>8</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_12'><b>12</b></a>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_21'><b>21</b></a>, <a href='#Page_32'><b>32</b></a>, <a href='#Page_44'><b>44</b></a>-<a href='#Page_45'><b>45</b></a>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_64'><b>64</b></a>, <a href='#Page_67'><b>67</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_79'><b>79</b></a>, <a href='#Page_81'><b>81</b></a>, <a href='#Page_84'><b>84</b></a>-<a href='#Page_89'><b>89</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_181'><b>181</b></a>, <a href='#Page_183'><b>183</b></a>-<a href='#Page_187'><b>187</b></a>, <a href='#Page_189'><b>189</b></a>-<a href='#Page_191'><b>191</b></a>, <a href='#Page_194'><b>194</b></a>, <a href='#Page_209'><b>209</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_229'><b>229</b></a>, <a href='#Page_281'><b>281</b></a>-<a href='#Page_282'><b>282</b></a>, <a href='#Page_290'><b>290</b></a>, <a href='#Page_292'><b>292</b></a>, <a href='#Page_299'><b>299</b></a>, <a href='#Page_306'><b>306</b></a>, <a href='#Page_310'><b>310</b></a>-<a href='#Page_311'><b>311</b></a>, <a href='#Page_321'><b>321</b></a>, <a href='#Page_326'><b>326</b></a>, <a href='#Page_346'><b>346</b></a>, <a href='#Page_358'><b>358</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Franz II</i>, <a href='#Page_359'><b>359</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Gabriel</i>, <a href='#Page_276'><b>276</b></a>, <a href='#Page_348'><b>348</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gaillon, Chateau de, <a href='#Page_33'><b>33</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ganne, P&egrave;re</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Girardini</i>, <a href='#Page_160'><b>160</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gisors, Castle of, <a href='#Page_82'><b>82</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Gondi</i>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_232'><b>232</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Goujon, Jean</i>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_90'><b>90</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Grand Trianon, <a href='#Page_39'><b>39</b></a>, <a href='#Page_248'><b>248</b></a>, <a href='#Page_258'><b>258</b></a>, <a href='#Page_259'><b>259</b></a>, <a href='#Page_260'><b>260</b></a>, <a href='#Page_263'><b>263</b></a>, <a href='#Page_264'><b>264</b></a>, <a href='#Page_274'><b>274</b></a>-<a href='#Page_276'><b>276</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Gregory of Tours</i>, <a href='#Page_215'><b>215</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Gr&eacute;vy, Jules</i>, <a href='#Page_58'><b>58</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Gros, Baron</i>, <a href='#Page_338'><b>338</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Grosbois, Chateau de, <a href='#Page_51'><b>51</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Guilbert, Abb&eacute;</i>, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Guillain, Guillaume</i>, <a href='#Page_282'><b>282</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Guise, Ducs de</i>, <a href='#Page_70'><b>70</b></a>, <a href='#Page_72'><b>72</b></a>-<a href='#Page_73'><b>73</b></a>, <a href='#Page_103'><b>103</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Hamon</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Harlay-Crauvallon, Archbishop De</i>, <a href='#Page_178'><b>178</b></a>-<a href='#Page_179'><b>179</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Haussmann, Baron</i>, <a href='#Page_3'><b>3</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_152'><b>152</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Hebert</i>, <a href='#Page_201'><b>201</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Hennequin, Dame Gillette</i>, <a href='#Page_178'><b>178</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henri II</i>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_32'><b>32</b></a>, <a href='#Page_44'><b>44</b></a>, <a href='#Page_69'><b>69</b></a>-<a href='#Page_70'><b>70</b></a>, <a href='#Page_78'><b>78</b></a>, <a href='#Page_85'><b>85</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_193'><b>193</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_282'><b>282</b></a>, <a href='#Page_294'><b>294</b></a>-<a href='#Page_295'><b>295</b></a>, <a href='#Page_311'><b>311</b></a>, <a href='#Page_327'><b>327</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henri III</i>, <a href='#Page_29'><b>29</b></a>, <a href='#Page_92'><b>92</b></a>-<a href='#Page_93'><b>93</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_230'><b>230</b></a>-<a href='#Page_232'><b>232</b></a>, <a href='#Page_312'><b>312</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henri IV</i>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_27'><b>27</b></a>, <a href='#Page_29'><b>29</b></a>, <a href='#Page_45'><b>45</b></a>-<a href='#Page_46'><b>46</b></a>, <a href='#Page_71'><b>71</b></a>-<a href='#Page_72'><b>72</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_94'><b>94</b></a>-<a href='#Page_95'><b>95</b></a>, <a href='#Page_102'><b>102</b></a>-<a href='#Page_103'><b>103</b></a>, <a href='#Page_111'><b>111</b></a>-<a href='#Page_112'><b>112</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_172'><b>172</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_191'><b>191</b></a>, <a href='#Page_194'><b>194</b></a>-<a href='#Page_197'><b>197</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_206'><b>206</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_238'><b>238</b></a>, <a href='#Page_282'><b>282</b></a>-<a href='#Page_283'><b>283</b></a>, <a href='#Page_306'><b>306</b></a>, <a href='#Page_327'><b>327</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henrietta of England</i>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_289'><b>289</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henriette de France</i>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henry V of England</i>, <a href='#Page_63'><b>63</b></a>, <a href='#Page_326'><b>326</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henry VI of England</i>, <a href='#Page_63'><b>63</b></a>, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Henry VIII of England</i>, <a href='#Page_311'><b>311</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">H&eacute;rivaux, Bois de, <a href='#Page_340'><b>340</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Hohenzollern, Prince de</i>, <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Hortense, Queen</i>, <a href='#Page_330'><b>330</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Hugo, Victor</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Hugues Capet</i>, <a href='#Page_62'><b>62</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;">Institut, Palais de l', <a href='#Page_159'><b>159</b></a>-<a href='#Page_160'><b>160</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Isabey</i> (<i>P&egrave;re</i>), <a href='#Page_40'><b>40</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Jacob of Cologne</i>, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Jacque</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>James II of England</i>, <a href='#Page_290'><b>290</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Jarnac, Gui Chabot de</i>, <a href='#Page_294'><b>294</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Joachim, Prince</i>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_56'><b>56</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>John II of France</i>, <a href='#Page_83'><b>83</b></a>, <a href='#Page_170'><b>170</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>John VIII, Pope</i>, <a href='#Page_344'><b>344</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Joinville, Forest of, <a href='#Page_169'><b>169</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Josephine, Empress</i>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_217'><b>217</b></a>-<a href='#Page_222'><b>222</b></a>, <a href='#Page_323'><b>323</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Justice, Palais de (<i>see</i> La Cit&eacute;, Palais de)</span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Karr, Alphonse</i>, <a href='#Page_149'><b>149</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>La Barauderie, De</i>, <a href='#Page_30'><b>30</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Labaudy</i>, <a href='#Page_50'><b>50</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>La Brosse</i>, <a href='#Page_102'><b>102</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">La Cit&eacute;, Palais de, <a href='#Page_12'><b>12</b></a>, <a href='#Page_61'><b>61</b></a>-<a href='#Page_68'><b>68</b></a>, <a href='#Page_75'><b>75</b></a>, <a href='#Page_81'><b>81</b></a>, <a href='#Page_82'><b>82</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_170'><b>170</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>La Ch&acirc;taigneraie</i>, <a href='#Page_294'><b>294</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Laffitte, Pierre</i>, <a href='#Page_212'><b>212</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lambesc, Prince de</i>, <a href='#Page_144'><b>144</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">La Muette, Chateau de, <a href='#Page_111'><b>111</b></a>, <a href='#Page_203'><b>203</b></a>, <a href='#Page_209'><b>209</b></a>-<a href='#Page_210'><b>210</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lancret</i>, <a href='#Page_338'><b>338</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Langeais, <a href='#Page_33'><b>33</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lannes, Mar&eacute;chal</i>, <a href='#Page_213'><b>213</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Laporte</i>, <a href='#Page_284'><b>284</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>La Quintinye</i>, <a href='#Page_267'><b>267</b></a>-<a href='#Page_269'><b>269</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">La Reine Blanche, Chateau de, <a href='#Page_341'><b>341</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Laschant</i>, <a href='#Page_232'><b>232</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Latini, Brunetto</i>, <a href='#Page_24'><b>24</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lauzan</i>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_289'><b>289</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>La Valli&egrave;re, Louise de</i>, <a href='#Page_289'><b>289</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lebrun, Charles</i>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_255'><b>255</b></a>, <a href='#Page_256'><b>256</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lebrun, Consul</i>, <a href='#Page_115'><b>115</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Le Calabrese, Henri</i>, <a href='#Page_27'><b>27</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lecouteux de Canteleu</i>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_222'><b>222</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ledoux</i>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lefuel</i>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lejeune</i>, <a href='#Page_360'><b>360</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Leloir</i>, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">L'Elys&eacute;e, Palais de, <a href='#Page_153'><b>153</b></a>, <a href='#Page_162'><b>162</b></a>-<a href='#Page_167'><b>167</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lemercier, Jacques</i>, <a href='#Page_96'><b>96</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Le Moyne</i>, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Le Notre</i>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_28'><b>28</b></a>, <a href='#Page_30'><b>30</b></a>, <a href='#Page_31'><b>31</b></a>, <a href='#Page_35'><b>35</b></a>, <a href='#Page_39'><b>39</b></a>, <a href='#Page_40'><b>40</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_128'><b>128</b></a>, <a href='#Page_129'><b>129</b></a>-<a href='#Page_130'><b>130</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_248'><b>248</b></a>, <a href='#Page_264'><b>264</b></a>-<a href='#Page_266'><b>266</b></a>, <a href='#Page_270'><b>270</b></a>, <a href='#Page_277'><b>277</b></a>, <a href='#Page_288'><b>288</b></a>, <a href='#Page_292'><b>292</b></a>, <a href='#Page_307'><b>307</b></a>-<a href='#Page_308'><b>308</b></a>, <a href='#Page_327'><b>327</b></a>, <a href='#Page_330'><b>330</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lepaute</i>, <a href='#Page_240'><b>240</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Le Roy</i>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Les Bruyeres, <a href='#Page_222'><b>222</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lescot, Pierre</i>, <a href='#Page_88'><b>88</b></a>-<a href='#Page_90'><b>90</b></a>, <a href='#Page_109'><b>109</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lesdigui&egrave;res, Duchesse de</i>, <a href='#Page_179'><b>179</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Levau</i>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_98'><b>98</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_247'><b>247</b></a>, <a href='#Page_249'><b>249</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lomenci, Martial de</i>, <a href='#Page_247'><b>247</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Longueil, Ren&eacute; de</i>, <a href='#Page_212'><b>212</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Longueville, Mme. de</i>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_327'><b>327</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Loret</i>, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lorraine, Cardinal de</i>, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lorraine, Chevalier de</i>, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis I</i>, <a href='#Page_344'><b>344</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis V</i>, <a href='#Page_344'><b>344</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis VI</i>, <a href='#Page_281'><b>281</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis VII</i>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_181'><b>181</b></a>, <a href='#Page_182'><b>182</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis IX</i>, <a href='#Page_23'><b>23</b></a>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_176'><b>176</b></a>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_281'><b>281</b></a>, <a href='#Page_295'><b>295</b></a>, <a href='#Page_341'><b>341</b></a>, <a href='#Page_344'><b>344</b></a>, <a href='#Page_354'><b>354</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis XI</i>, <a href='#Page_21'><b>21</b></a>, <a href='#Page_66'><b>66</b></a>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_172'><b>172</b></a>, <a href='#Page_177'><b>177</b></a>-<a href='#Page_178'><b>178</b></a>, <a href='#Page_299'><b>299</b></a>, <a href='#Page_326'><b>326</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis XII</i>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_299'><b>299</b></a>, <a href='#Page_305'><b>305</b></a>, <a href='#Page_306'><b>306</b></a>, <a href='#Page_326'><b>326</b></a>, <a href='#Page_354'><b>354</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis XIII</i>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_48'><b>48</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_96'><b>96</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_134'><b>134</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_171'><b>171</b></a>, <a href='#Page_189'><b>189</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_194'><b>194</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_247'><b>247</b></a>, <a href='#Page_249'><b>249</b></a>, <a href='#Page_262'><b>262</b></a>, <a href='#Page_266'><b>266</b></a>, <a href='#Page_283'><b>283</b></a>-<a href='#Page_284'><b>284</b></a>, <a href='#Page_306'><b>306</b></a>, <a href='#Page_347'><b>347</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis XIV</i>, <a href='#Page_11'><b>11</b></a>, <a href='#Page_12'><b>12</b></a>, <a href='#Page_14'><b>14</b></a>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_17'><b>17</b></a>, <a href='#Page_29'><b>29</b></a>, <a href='#Page_33'><b>33</b></a>, <a href='#Page_38'><b>38</b></a>, <a href='#Page_39'><b>39</b></a>, <a href='#Page_46'><b>46</b></a>, <a href='#Page_48'><b>48</b></a>, <a href='#Page_49'><b>49</b></a>, <a href='#Page_50'><b>50</b></a>, <a href='#Page_85'><b>85</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_99'><b>99</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_127'><b>127</b></a>, <a href='#Page_136'><b>136</b></a>-<a href='#Page_137'><b>137</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_158'><b>158</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_189'><b>189</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_206'><b>206</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_217'><b>217</b></a>, <a href='#Page_223'><b>223</b></a>-<a href='#Page_224'><b>224</b></a>, <a href='#Page_226'><b>226</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_240'><b>240</b></a>, <a href='#Page_245'><b>245</b></a>, <a href='#Page_247'><b>247</b></a>, <a href='#Page_249'><b>249</b></a>, <a href='#Page_251'><b>251</b></a>-<a href='#Page_253'><b>253</b></a>, <a href='#Page_255'><b>255</b></a>-<a href='#Page_257'><b>257</b></a>, <a href='#Page_261'><b>261</b></a>, <a href='#Page_264'><b>264</b></a>, <a href='#Page_268'><b>268</b></a>, <a href='#Page_270'><b>270</b></a>, <a href='#Page_273'><b>273</b></a>, <a href='#Page_274'><b>274</b></a>, <a href='#Page_277'><b>277</b></a>, <a href='#Page_283'><b>283</b></a>, <a href='#Page_284'><b>284</b></a>, <a href='#Page_288'><b>288</b></a>-<a href='#Page_290'><b>290</b></a>, <a href='#Page_291'><b>291</b></a>, <a href='#Page_293'><b>293</b></a>, <a href='#Page_296'><b>296</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_297'><b>297</b></a>, <a href='#Page_299'><b>299</b></a>, <a href='#Page_303'><b>303</b></a>-<a href='#Page_307'><b>307</b></a>, <a href='#Page_312'><b>312</b></a>, <a href='#Page_328'><b>328</b></a>, <a href='#Page_345'><b>345</b></a>, <a href='#Page_347'><b>347</b></a>, <a href='#Page_358'><b>358</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis XV</i>, <a href='#Page_4'><b>4</b></a>, <a href='#Page_14'><b>14</b></a>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_17'><b>17</b></a>, <a href='#Page_38'><b>38</b></a>, <a href='#Page_48'><b>48</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_162'><b>162</b></a>, <a href='#Page_163'><b>163</b></a>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_189'><b>189</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_192'><b>192</b></a>, <a href='#Page_205'><b>205</b></a>, <a href='#Page_207'><b>207</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_241'><b>241</b></a>, <a href='#Page_243'><b>243</b></a>, <a href='#Page_246'><b>246</b></a>, <a href='#Page_250'><b>250</b></a>, <a href='#Page_253'><b>253</b></a>, <a href='#Page_263'><b>263</b></a>-<a href='#Page_264'><b>264</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_275'><b>275</b></a>-<a href='#Page_276'><b>276</b></a>, <a href='#Page_284'><b>284</b></a>, <a href='#Page_290'><b>290</b></a>, <a href='#Page_312'><b>312</b></a>, <a href='#Page_320'><b>320</b></a>, <a href='#Page_323'><b>323</b></a>, <a href='#Page_329'><b>329</b></a>, <a href='#Page_345'><b>345</b></a>, <a href='#Page_348'><b>348</b></a>, <a href='#Page_350'><b>350</b></a>-<a href='#Page_352'><b>352</b></a>, <a href='#Page_358'><b>358</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis XVI</i>, <a href='#Page_37'><b>37</b></a>, <a href='#Page_39'><b>39</b></a>, <a href='#Page_41'><b>41</b></a>, <a href='#Page_43'><b>43</b></a>, <a href='#Page_57'><b>57</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_250'><b>250</b></a>, <a href='#Page_261'><b>261</b></a>, <a href='#Page_235'><b>235</b></a>-<a href='#Page_236'><b>236</b></a>, <a href='#Page_352'><b>352</b></a>, <a href='#Page_356'><b>356</b></a>, <a href='#Page_358'><b>358</b></a>-<a href='#Page_362'><b>362</b></a>, <a href='#Page_290'><b>290</b></a>, <a href='#Page_312'><b>312</b></a>-<a href='#Page_313'><b>313</b></a>, <a href='#Page_316'><b>316</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_320'><b>320</b></a>, <a href='#Page_322'><b>322</b></a>, <a href='#Page_348'><b>348</b></a>, <a href='#Page_351'><b>351</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis XVIII</i>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_161'><b>161</b></a>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_250'><b>250</b></a>, <a href='#Page_316'><b>316</b></a>, <a href='#Page_349'><b>349</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Louis Philippe</i>, <a href='#Page_105'><b>105</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_117'><b>117</b></a>-<a href='#Page_118'><b>118</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_149'><b>149</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_162'><b>162</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_194'><b>194</b></a>, <a href='#Page_199'><b>199</b></a>, <a href='#Page_207'><b>207</b></a>, <a href='#Page_238'><b>238</b></a>, <a href='#Page_254'><b>254</b></a>-<a href='#Page_255'><b>255</b></a>, <a href='#Page_350'><b>350</b></a> (<i>see also Orleans Family</i>)</span></li>
+
+<li><span style="margin-left: 1.5em;">Louveciennes, Chateau de, <a href='#Page_210'><b>210</b></a>-<a href='#Page_212'><b>212</b></a>, <a href='#Page_242'><b>242</b></a>, <a href='#Page_288'><b>288</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Louvre, <a href='#Page_4'><b>4</b></a>, <a href='#Page_12'><b>12</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_32'><b>32</b></a>, <a href='#Page_44'><b>44</b></a>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_68'><b>68</b></a>, <a href='#Page_75'><b>75</b></a>-<a href='#Page_105'><b>105</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_124'><b>124</b></a>, <a href='#Page_131'><b>131</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_351'><b>351</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Lude, Comtesse de</i>, <a href='#Page_49'><b>49</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Luxembourg, Jean de</i>, <a href='#Page_346'><b>346</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Luxembourg, Palais de, <a href='#Page_28'><b>28</b></a>, <a href='#Page_40'><b>40</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_153'><b>153</b></a>-<a href='#Page_158'><b>158</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;">Machine de Marly, <a href='#Page_223'><b>223</b></a>-<a href='#Page_224'><b>224</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Madrid, Chateau de, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Magnan, Mar&eacute;chal</i>, <a href='#Page_242'><b>242</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Maine, Duc de</i>, <a href='#Page_159'><b>159</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Maintenon, Chateau de, <a href='#Page_242'><b>242</b></a>, <a href='#Page_296'><b>296</b></a>-<a href='#Page_308'><b>308</b></a>, <a href='#Page_312'><b>312</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Maintenon, Mme. de</i>, <a href='#Page_158'><b>158</b></a>-<a href='#Page_159'><b>159</b></a>, <a href='#Page_194'><b>194</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_249'><b>249</b></a>, <a href='#Page_274'><b>274</b></a>, <a href='#Page_296'><b>296</b></a>-<a href='#Page_299'><b>299</b></a>, <a href='#Page_302'><b>302</b></a>-<a href='#Page_303'><b>303</b></a>, <a href='#Page_305'><b>305</b></a>-<a href='#Page_308'><b>308</b></a>, <a href='#Page_312'><b>312</b></a>, <a href='#Page_347'><b>347</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Maisons-Laffitte, Chateau de, <a href='#Page_203'><b>203</b></a>, <a href='#Page_212'><b>212</b></a>-<a href='#Page_214'><b>214</b></a>, <a href='#Page_288'><b>288</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Malmaison, Chateau de, <a href='#Page_215'><b>215</b></a>-<a href='#Page_223'><b>223</b></a>, <a href='#Page_323'><b>323</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mandrin</i>, <a href='#Page_67'><b>67</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mansart, Fran&ccedil;ois</i>, <a href='#Page_212'><b>212</b></a>-<a href='#Page_213'><b>213</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mansart, Jules Hardouin</i>, <a href='#Page_35'><b>35</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_226'><b>226</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_241'><b>241</b></a>, <a href='#Page_249'><b>249</b></a>, <a href='#Page_274'><b>274</b></a>, <a href='#Page_276'><b>276</b></a>, <a href='#Page_291'><b>291</b></a>, <a href='#Page_327'><b>327</b></a>, <a href='#Page_333'><b>333</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mantes, <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mantes, Mlle. de</i>, <a href='#Page_159'><b>159</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marat</i>, <a href='#Page_116'><b>116</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marceliano, Pucello and Edme</i>, <a href='#Page_26'><b>26</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marie Antoinette</i>, <a href='#Page_49'><b>49</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_194'><b>194</b></a>, <a href='#Page_204'><b>204</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_245'><b>245</b></a>, <a href='#Page_256'><b>256</b></a>, <a href='#Page_276'><b>276</b></a>-<a href='#Page_277'><b>277</b></a>, <a href='#Page_320'><b>320</b></a>, <a href='#Page_322'><b>322</b></a>, <a href='#Page_349'><b>349</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marie Louise</i>, <a href='#Page_6'><b>6</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_208'><b>208</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marie Sophie</i>, <a href='#Page_320'><b>320</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marie Th&eacute;r&egrave;se</i>, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marigny, Enguerrand de</i>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_172'><b>172</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Marigny, Marquis de</i>, <a href='#Page_99'><b>99</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marlotte, <a href='#Page_201'><b>201</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marly-le-Roi (<i>or</i> -le-Bourg <i>or</i> -le-Chatel), <a href='#Page_2'><b>2</b></a>, <a href='#Page_224'><b>224</b></a>-<a href='#Page_228'><b>228</b></a>, <a href='#Page_283'><b>283</b></a>, <a href='#Page_288'><b>288</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mary Tudor, of England</i>, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marseilles, <a href='#Page_91'><b>91</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Massena, Duc de</i>, <a href='#Page_217'><b>217</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Masson, Frederic</i>, <a href='#Page_236'><b>236</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Matignon, Mar&eacute;chal de</i>, <a href='#Page_70'><b>70</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mayenne, Duc de</i>, <a href='#Page_101'><b>101</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mazarin, Cardinal</i>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_159'><b>159</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_283'><b>283</b></a>-<a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mazarin, Palais (<i>see</i> Institut, Palais de l')</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>M&eacute;dici, Catherine de</i>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_31'><b>31</b></a>, <a href='#Page_33'><b>33</b></a>, <a href='#Page_44'><b>44</b></a>, <a href='#Page_48'><b>48</b></a>, <a href='#Page_68'><b>68</b></a>, <a href='#Page_69'><b>69</b></a>-<a href='#Page_71'><b>71</b></a>, <a href='#Page_90'><b>90</b></a>-<a href='#Page_91'><b>91</b></a>, <a href='#Page_93'><b>93</b></a>-<a href='#Page_94'><b>94</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_107'><b>107</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_171'><b>171</b></a>, <a href='#Page_195'><b>195</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_247'><b>247</b></a>, <a href='#Page_311'><b>311</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>M&eacute;dici, Marie de</i>, <a href='#Page_72'><b>72</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_158'><b>158</b></a>, <a href='#Page_206'><b>206</b></a>, <a href='#Page_347'><b>347</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Menars et de Marigny, Marquis de</i>, <a href='#Page_163'><b>163</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Menours, Jacques de</i>, <a href='#Page_30'><b>30</b></a>, <a href='#Page_262'><b>262</b></a>-<a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mercogliano</i>, <a href='#Page_18'><b>18</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Messonier</i>, <a href='#Page_338'><b>338</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Metezeau, Thibaut</i>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_94'><b>94</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Metternich, Prince de</i>, <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Meudon, Bois de, <a href='#Page_240'><b>240</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Meudon, Chateau de, <a href='#Page_34'><b>34</b></a>, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Michelet</i>, <a href='#Page_192'><b>192</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mignard</i>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_239'><b>239</b></a>, <a href='#Page_306'><b>306</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Millet, Eugene</i>, <a href='#Page_290'><b>290</b></a>, <a href='#Page_291'><b>291</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Millet, Jean Fran&ccedil;ois</i>, <a href='#Page_200'><b>200</b></a>, <a href='#Page_201'><b>201</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mirabeau</i>, <a href='#Page_172'><b>172</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Moli&egrave;re</i>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_249'><b>249</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Molineaux, Chateau de, <a href='#Page_278'><b>278</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mollet, Claude</i>, <a href='#Page_29'><b>29</b></a>, <a href='#Page_30'><b>30</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mollien</i>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Monconseil, Marquise de</i>, <a href='#Page_204'><b>204</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Mongomere, Comte de</i>, <a href='#Page_67'><b>67</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montansier, Duc de</i>, <a href='#Page_269'><b>269</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Montargis, <a href='#Page_28'><b>28</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montebello, Mar&eacute;chal de</i>, <a href='#Page_213'><b>213</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montespan, Marquise de</i>, <a href='#Page_159'><b>159</b></a>, <a href='#Page_249'><b>249</b></a>, <a href='#Page_275'><b>275</b></a>, <a href='#Page_312'><b>312</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montesson, Marquise de</i>, <a href='#Page_234'><b>234</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Montgaillard, <a href='#Page_50'><b>50</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montgolfier</i>, <a href='#Page_130'><b>130</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montgomeri, Sieur de</i>, <a href='#Page_70'><b>70</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Montmartre, <a href='#Page_288'><b>288</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montmorency Family</i>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_324'><b>324</b></a>, <a href='#Page_326'><b>326</b></a>-<a href='#Page_327'><b>327</b></a>, <a href='#Page_339'><b>339</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Montmorency, Forest of, <a href='#Page_49'><b>49</b></a>, <a href='#Page_288'><b>288</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Montpensier, Mlle. de</i>, <a href='#Page_136'><b>136</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Moreau, Architect</i>, <a href='#Page_138'><b>138</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Moreau, H&eacute;g&eacute;sippe</i>, <a href='#Page_123'><b>123</b></a>-<a href='#Page_124'><b>124</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Moskowa, Prince de la</i>, <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Muette, Chateau de la</i>, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Murat, Princes de</i>, <a href='#Page_52'><b>52</b></a>-<a href='#Page_56'><b>56</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_235'><b>235</b></a>, <a href='#Page_361'><b>361</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Murillo</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mus&eacute;e de Cluny, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Musset, De</i>, <a href='#Page_274'><b>274</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Nacret</i>, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Nanterre, <a href='#Page_281'><b>281</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Nanteuil, C&eacute;lestin</i>, <a href='#Page_200'><b>200</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Napoleon I</i>, <a href='#Page_6'><b>6</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_40'><b>40</b></a>, <a href='#Page_51'><b>51</b></a>-<a href='#Page_52'><b>52</b></a>, <a href='#Page_57'><b>57</b></a>, <a href='#Page_79'><b>79</b></a>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_115'><b>115</b></a>-<a href='#Page_118'><b>118</b></a>, <a href='#Page_127'><b>127</b></a>, <a href='#Page_129'><b>129</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_160'><b>160</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_171'><b>171</b></a>, <a href='#Page_173'><b>173</b></a>-<a href='#Page_174'><b>174</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>-<a href='#Page_188'><b>188</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_194'><b>194</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_208'><b>208</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_217'><b>217</b></a>-<a href='#Page_222'><b>222</b></a>, <a href='#Page_235'><b>235</b></a>-<a href='#Page_237'><b>237</b></a>, <a href='#Page_250'><b>250</b></a>, <a href='#Page_254'><b>254</b></a>, <a href='#Page_274'><b>274</b></a>, <a href='#Page_296'><b>296</b></a>, <a href='#Page_298'><b>298</b></a>, <a href='#Page_313'><b>313</b></a>-<a href='#Page_316'><b>316</b></a>, <a href='#Page_320'><b>320</b></a>, <a href='#Page_321'><b>321</b></a>, <a href='#Page_322'><b>322</b></a>, <a href='#Page_345'><b>345</b></a>, <a href='#Page_349'><b>349</b></a>, <a href='#Page_352'><b>352</b></a>, <a href='#Page_355'><b>355</b></a>-<a href='#Page_356'><b>356</b></a>, <a href='#Page_359'><b>359</b></a>-<a href='#Page_362'><b>362</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Napoleon III</i>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_58'><b>58</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_105'><b>105</b></a>, <a href='#Page_118'><b>118</b></a>-<a href='#Page_122'><b>122</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_195'><b>195</b></a>, <a href='#Page_197'><b>197</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_238'><b>238</b></a>, <a href='#Page_290'><b>290</b></a>, <a href='#Page_313'><b>313</b></a>, <a href='#Page_318'><b>318</b></a>, <a href='#Page_323'><b>323</b></a>, <a href='#Page_345'><b>345</b></a>, <a href='#Page_350'><b>350</b></a>-<a href='#Page_352'><b>352</b></a>, <a href='#Page_356'><b>356</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Nattier</i>, <a href='#Page_338'><b>338</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Neckar</i>, <a href='#Page_144'><b>144</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Nemours, Duc de</i>, <a href='#Page_70'><b>70</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Neufforge, De</i>, <a href='#Page_37'><b>37</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Neuilly and its Chateau, <a href='#Page_206'><b>206</b></a>-<a href='#Page_209'><b>209</b></a>, <a href='#Page_238'><b>238</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Nicholas II</i>, <a href='#Page_352'><b>352</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Nicolo dell' abbate</i>, <a href='#Page_193'><b>193</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Nigra, Chevalier</i>, <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Noailles, Ducs de</i>, <a href='#Page_298'><b>298</b></a>-<a href='#Page_300'><b>300</b></a>, <a href='#Page_306'><b>306</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Noisy, Chateau de, <a href='#Page_278'><b>278</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Nolhac, M. de</i>, <a href='#Page_274'><b>274</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Olivier, Emile</i>, <a href='#Page_125'><b>125</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Oppenard</i>, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Orgemont, Marguerite d'</i>, <a href='#Page_326'><b>326</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Orleans, Ducs d'</i>, <a href='#Page_137'><b>137</b></a>-<a href='#Page_140'><b>140</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_144'><b>144</b></a>-<a href='#Page_149'><b>149</b></a>, <a href='#Page_161'><b>161</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_234'><b>234</b></a>, <a href='#Page_286'><b>286</b></a>-<a href='#Page_287'><b>287</b></a>, <a href='#Page_337'><b>337</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Orleans, Palais d' (<i>see</i> Royal, Palais)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ormesson, D'</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Osman</i>, <a href='#Page_230'><b>230</b></a>-<a href='#Page_231'><b>231</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Oursins, Juvenal des</i>, <a href='#Page_66'><b>66</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Palatine, Princesse</i>, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Palissy, Bernard</i>, <a href='#Page_31'><b>31</b></a>-<a href='#Page_32'><b>32</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Panseron</i>, <a href='#Page_37'><b>37</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Par&eacute;, Ambroise</i>, <a href='#Page_171'><b>171</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Paul, Saint Vincent de</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Penthi&egrave;vre, Duc de</i>, <a href='#Page_306'><b>306</b></a>, <a href='#Page_312'><b>312</b></a>, <a href='#Page_322'><b>322</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Pepin-le-Bref</i>, <a href='#Page_343'><b>343</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Percier</i>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_127'><b>127</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Perrault, Charles</i>, <a href='#Page_98'><b>98</b></a>-<a href='#Page_99'><b>99</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Petit Luxembourg, Palais du, <a href='#Page_155'><b>155</b></a>, <a href='#Page_157'><b>157</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Petit Trianon, <a href='#Page_39'><b>39</b></a>, <a href='#Page_260'><b>260</b></a>, <a href='#Page_264'><b>264</b></a>, <a href='#Page_274'><b>274</b></a>, <a href='#Page_276'><b>276</b></a>-<a href='#Page_277'><b>277</b></a>, <a href='#Page_329'><b>329</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Pfnor</i>, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Philippe Auguste</i>, <a href='#Page_12'><b>12</b></a>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_80'><b>80</b></a>-<a href='#Page_82'><b>82</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_190'><b>190</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Philippe III</i>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_177'><b>177</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Philippe IV</i>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_176'><b>176</b></a>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_295'><b>295</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Philippe VI</i>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_358'><b>358</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Philippe II, of Spain</i>, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Philippe-Egalit&eacute;</i>, <a href='#Page_138'><b>138</b></a>-<a href='#Page_139'><b>139</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Picard, Achille</i>, <a href='#Page_125'><b>125</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Pichegreu</i>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pierrefonds, <a href='#Page_290'><b>290</b></a>, <a href='#Page_335'><b>335</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Pisan, Christine de</i>, <a href='#Page_23'><b>23</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Pius VII</i>, <a href='#Page_6'><b>6</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_194'><b>194</b></a>, <a href='#Page_235'><b>235</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Poirson</i>, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Poissin</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Poissy, <a href='#Page_23'><b>23</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_292'><b>292</b></a>, <a href='#Page_293'><b>293</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Poitiers, Diane de</i>, <a href='#Page_29'><b>29</b></a>, <a href='#Page_44'><b>44</b></a>, <a href='#Page_70'><b>70</b></a>-<a href='#Page_71'><b>71</b></a>, <a href='#Page_193'><b>193</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Pompadour, Mme. de</i>, <a href='#Page_163'><b>163</b></a>, <a href='#Page_204'><b>204</b></a>-<a href='#Page_205'><b>205</b></a>, <a href='#Page_241'><b>241</b></a>-<a href='#Page_242'><b>242</b></a>, <a href='#Page_246'><b>246</b></a>, <a href='#Page_250'><b>250</b></a>, <a href='#Page_275'><b>275</b></a>, <a href='#Page_348'><b>348</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Potter, Paul</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Poussin</i>, <a href='#Page_338'><b>338</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Prieur, Barth&eacute;lemy</i>, <a href='#Page_196'><b>196</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Primaticcio</i>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_192'><b>192</b></a>, <a href='#Page_193'><b>193</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Provence, Comte de</i>, <a href='#Page_154'><b>154</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;">Quatre Nations, Palais des (<i>see</i> Institut, Palais de l')</span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Rabelais</i>, <a href='#Page_322'><b>322</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Racine</i>, <a href='#Page_297'><b>297</b></a>, <a href='#Page_303'><b>303</b></a>, <a href='#Page_308'><b>308</b></a>, <a href='#Page_328'><b>328</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rambouillet, Chateau and Forest of, <a href='#Page_44'><b>44</b></a>-<a href='#Page_45'><b>45</b></a>, <a href='#Page_50'><b>50</b></a>, <a href='#Page_55'><b>55</b></a>-<a href='#Page_59'><b>59</b></a>, <a href='#Page_242'><b>242</b></a>, <a href='#Page_296'><b>296</b></a>, <a href='#Page_298'><b>298</b></a>, <a href='#Page_309'><b>309</b></a>-<a href='#Page_323'><b>323</b></a>, <a href='#Page_328'><b>328</b></a>, <a href='#Page_335'><b>335</b></a>, <a href='#Page_336'><b>336</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rambouillet, Seigneur de</i>, <a href='#Page_299'><b>299</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Raphael</i>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_170'><b>170</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Raspail</i>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ravaillac</i>, <a href='#Page_67'><b>67</b></a>, <a href='#Page_102'><b>102</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Redon</i>, <a href='#Page_128'><b>128</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>R&eacute;gnier, Henri de</i>, <a href='#Page_244'><b>244</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Remusat, Mme. de</i>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_219'><b>219</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Retz, Mar&eacute;chal de</i>, <a href='#Page_247'><b>247</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Revolution, Palais de la (<i>see</i> Royal, Palais)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Richelieu, Cardinal</i>, <a href='#Page_72'><b>72</b></a>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_131'><b>131</b></a>-<a href='#Page_139'><b>139</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_216'><b>216</b></a>-<a href='#Page_217'><b>217</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rigaud</i>, <a href='#Page_307'><b>307</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rigby</i>, <a href='#Page_334'><b>334</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Robert II</i>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_281'><b>281</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rochefort, Henri</i>, <a href='#Page_120'><b>120</b></a>-<a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Romain, Mme.</i>, <a href='#Page_141'><b>141</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Ronsard</i>, <a href='#Page_34'><b>34</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Roosevelt, Theodore</i>, <a href='#Page_166'><b>166</b></a>-<a href='#Page_167'><b>167</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rosier, De</i>, <a href='#Page_210'><b>210</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rosny</i>, <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rosso</i>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_192'><b>192</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rousseau, Theodore</i>, <a href='#Page_200'><b>200</b></a>, <a href='#Page_201'><b>201</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rousselle</i>, <a href='#Page_123'><b>123</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rouvray, Forest of, <a href='#Page_229'><b>229</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rovigo, Duc de</i>, <a href='#Page_221'><b>221</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Royal, Palais, <a href='#Page_131'><b>131</b></a>-<a href='#Page_150'><b>150</b></a>, <a href='#Page_284'><b>284</b></a>, <a href='#Page_351'><b>351</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Royale, Place (<i>see</i> Vosges, Place des)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Rubens</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rueil (<i>see</i> Malmaison)</span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Sadi-Carnot</i>, <a href='#Page_58'><b>58</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Saint Cloud, Palais de, <a href='#Page_13'><b>13</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_229'><b>229</b></a>-<a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Saint Cyr, <a href='#Page_296'><b>296</b></a>-<a href='#Page_298'><b>298</b></a>, <a href='#Page_303'><b>303</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Saint Germain-en-Laye, <a href='#Page_28'><b>28</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_203'><b>203</b></a>, <a href='#Page_206'><b>206</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_242'><b>242</b></a>, <a href='#Page_256'><b>256</b></a>, <a href='#Page_279'><b>279</b></a>-<a href='#Page_295'><b>295</b></a>, <a href='#Page_311'><b>311</b></a>, <a href='#Page_324'><b>324</b></a>, <a href='#Page_336'><b>336</b></a>, <a href='#Page_345'><b>345</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Saint Germain, Forest of, <a href='#Page_212'><b>212</b></a>, <a href='#Page_292'><b>292</b></a>-<a href='#Page_295'><b>295</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Saint James, Baudart de</i>, <a href='#Page_208'><b>208</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Saint Louis</i> (see <i>Louis IX</i>)</span></li>
+
+<li><span style="margin-left: 1.5em;">Saint Maur, Chateau de, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Saint Ouen</i>, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Saint-Simon</i>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_262'><b>262</b></a>, <a href='#Page_348'><b>348</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Sarto, Del</i>, <a href='#Page_192'><b>192</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Savoie, Louise de</i>, <a href='#Page_108'><b>108</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Savoie, Philippe de</i>, <a href='#Page_66'><b>66</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Scarron, Mme.</i> (see <i>Maintenon, Mme. de</i>)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Schickler, Baron</i>, <a href='#Page_318'><b>318</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Schopin</i>, <a href='#Page_195'><b>195</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">S&eacute;nat, Palais du (<i>see</i> Luxembourg, Palais du)</span></li>
+
+<li><span style="margin-left: 1.5em;">Senlis, <a href='#Page_6'><b>6</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Senlis, For&ecirc;t de, <a href='#Page_340'><b>340</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Senlis, Seigneurs de</i>, <a href='#Page_324'><b>324</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>S&eacute;ran, Comtesse de</i>, <a href='#Page_275'><b>275</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Serlio</i>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_185'><b>185</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Serres, Olivier de</i>, <a href='#Page_33'><b>33</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Servandoni</i>, <a href='#Page_112'><b>112</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>S&eacute;vign&eacute;, Mme. de</i>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_277'><b>277</b></a>, <a href='#Page_328'><b>328</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Soissons, <a href='#Page_359'><b>359</b></a>-<a href='#Page_361'><b>361</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Soyecourt, Marquis de</i>, <a href='#Page_212'><b>212</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Sualem, Rennequin</i>, <a href='#Page_223'><b>223</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Sully, Duc de</i>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Talmon, Prince de</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Tess&eacute;, Marquis de</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Thermes, Palais des, <a href='#Page_12'><b>12</b></a>, <a href='#Page_62'><b>62</b></a>, <a href='#Page_153'><b>153</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Thierry III</i>, <a href='#Page_224'><b>224</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Thiers, President</i>, <a href='#Page_122'><b>122</b></a>-<a href='#Page_123'><b>123</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Thomery, <a href='#Page_202'><b>202</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Thou, De</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Temple, The, <a href='#Page_144'><b>144</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Tiercelin, Jean</i>, <a href='#Page_108'><b>108</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tillet, Maison du, <a href='#Page_232'><b>232</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Toulouse, Comte de</i>, <a href='#Page_321'><b>321</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Toulouse, Comtesse de</i>, <a href='#Page_312'><b>312</b></a>, <a href='#Page_320'><b>320</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tournelles, Palais des, <a href='#Page_66'><b>66</b></a>, <a href='#Page_68'><b>68</b></a>-<a href='#Page_71'><b>71</b></a>, <a href='#Page_81'><b>81</b></a>, <a href='#Page_152'><b>152</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Trepsat</i>, <a href='#Page_313'><b>313</b></a>-<a href='#Page_314'><b>314</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Trianon (<i>see</i> Grand Trianon)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Triboulet</i>, <a href='#Page_186'><b>186</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tribunat, Palais du (<i>see</i> Royal, Palais)</span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Trochu, General</i>, <a href='#Page_120'><b>120</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tuileries, Palace and Gardens of the, <a href='#Page_3'><b>3</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_31'><b>31</b></a>, <a href='#Page_33'><b>33</b></a>-<a href='#Page_34'><b>34</b></a>, <a href='#Page_40'><b>40</b></a>, <a href='#Page_76'><b>76</b></a>, <a href='#Page_78'><b>78</b></a>, <a href='#Page_82'><b>82</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_106'><b>106</b></a>-<a href='#Page_130'><b>130</b></a>, <a href='#Page_131'><b>131</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_157'><b>157</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_317'><b>317</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Turenne</i>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Turgot</i>, <a href='#Page_100'><b>100</b></a></span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;">Valerian, Mont, <a href='#Page_288'><b>288</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vallet, Pierre</i>, <a href='#Page_27'><b>27</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Valois, Charles, Comte de</i>, <a href='#Page_170'><b>170</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Valois, Elizabeth de</i>, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Valois, Marguerite de</i> (1492-1549), <a href='#Page_8'><b>8</b></a>, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Valois, Marguerite de</i> (1553-1615), <a href='#Page_10'><b>10</b></a>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Van Loo</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vasari</i>, <a href='#Page_181'><b>181</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vauban</i>, <a href='#Page_252'><b>252</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vaux-le-Vicomte, <a href='#Page_36'><b>36</b></a>, <a href='#Page_42'><b>42</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vendome, Duc de</i>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_206'><b>206</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vernet, Joseph</i>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Verneuil, Marquis de</i>, <a href='#Page_207'><b>207</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Veronese</i>, <a href='#Page_338'><b>338</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Versailles, <a href='#Page_2'><b>2</b></a>, <a href='#Page_36'><b>36</b></a>, <a href='#Page_42'><b>42</b></a>, <a href='#Page_85'><b>85</b></a>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_163'><b>163</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_196'><b>196</b></a>, <a href='#Page_205'><b>205</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_223'><b>223</b></a>-<a href='#Page_224'><b>224</b></a>, <a href='#Page_226'><b>226</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_239'><b>239</b></a>, <a href='#Page_240'><b>240</b></a>, <a href='#Page_242'><b>242</b></a>, <a href='#Page_244'><b>244</b></a>-<a href='#Page_278'><b>278</b></a>, <a href='#Page_279'><b>279</b></a>, <a href='#Page_283'><b>283</b></a>, <a href='#Page_296'><b>296</b></a>,</span></li>
+<li><span style="margin-left: 3em;"><a href='#Page_305'><b>305</b></a>, <a href='#Page_324'><b>324</b></a>, <a href='#Page_334'><b>334</b></a>, <a href='#Page_335'><b>335</b></a>, <a href='#Page_336'><b>336</b></a>, <a href='#Page_350'><b>350</b></a></span></li>
+<li><span style="margin-left: 1.5em;">Vesinet, Bois de, <a href='#Page_288'><b>288</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vexin, Comte de</i>, <a href='#Page_159'><b>159</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vignole</i>, <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vignon</i>, <a href='#Page_113'><b>113</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Villa Normande, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Villeray, Marquis de</i>, <a href='#Page_299'><b>299</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Villeroy, Marquis Neuville de</i>, <a href='#Page_108'><b>108</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Villeroy, Mar&eacute;chal de</i>, <a href='#Page_178'><b>178</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Villers-Cotterets, <a href='#Page_28'><b>28</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_346'><b>346</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vincennes, Chateau de, <a href='#Page_168'><b>168</b></a>-<a href='#Page_175'><b>175</b></a>, <a href='#Page_331'><b>331</b></a>, <a href='#Page_345'><b>345</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vincennes, Bois de, <a href='#Page_168'><b>168</b></a>, <a href='#Page_174'><b>174</b></a>-<a href='#Page_175'><b>175</b></a>, <a href='#Page_177'><b>177</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vinci, Leonardo da</i>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_192'><b>192</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Visconti</i>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Vivonne, Fran&ccedil;ois de</i>, <a href='#Page_294'><b>294</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Voltaire</i>, <a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Von Ostade</i>, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vosges, Place des, <a href='#Page_71'><b>71</b></a>-<a href='#Page_74'><b>74</b></a>, <a href='#Page_152'><b>152</b></a>.</span></li>
+
+
+<li><br /><span style="margin-left: 1.5em;"><i>Wagram, Prince de</i>, <a href='#Page_51'><b>51</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_360'><b>360</b></a>, <a href='#Page_362'><b>362</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Wallace, Sir Richard</i>, <a href='#Page_205'><b>205</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Wellington</i>, <a href='#Page_208'><b>208</b></a>-<a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>William I, Emperor</i>, <a href='#Page_255'><b>255</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;"><i>Wolsey</i>, <a href='#Page_132'><b>132</b></a></span></li>
+</ul>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK ROYAL PALACES AND PARKS OF FRANCE***</p>
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@@ -0,0 +1,9875 @@
+The Project Gutenberg eBook, Royal Palaces and Parks of France, by Milburg
+Francisco Mansfield, Illustrated by Blanche McManus
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Royal Palaces and Parks of France
+
+
+Author: Milburg Francisco Mansfield
+
+
+
+Release Date: June 19, 2008  [eBook #25842]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK ROYAL PALACES AND PARKS OF
+FRANCE***
+
+
+E-text prepared by Juliet Sutherland, Janet Blenkinship, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 25842-h.htm or 25842-h.zip:
+      (https://www.gutenberg.org/dirs/2/5/8/4/25842/25842-h/25842-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/5/8/4/25842/25842-h.zip)
+
+
+
+
+
+ROYAL PALACES AND PARKS OF FRANCE
+
+       *       *       *       *       *
+
+
+_WORKS OF
+
+FRANCIS MILTOUN_
+
+   _Rambles on the Riviera_                                          $2.50
+
+   _Rambles in Normandy_                                              2.50
+
+   _Rambles in Brittany_                                              2.50
+
+   _The Cathedrals and Churches of the Rhine_                         2.50
+
+   _The Cathedrals of Northern France_                                2.50
+
+   _The Cathedrals of Southern France_                                2.50
+
+   _In the Land of Mosques and Minarets_                              3.00
+
+   _Royal Palaces and Parks of France_                                3.00
+
+   _Castles and Chateaux of Old Touraine and the Loire Country_       3.00
+
+   _Castles and Chateaux of Old Navarre and the Basque Provinces_     3.00
+
+   _Castles and Chateaux of Old Burgundy and the Border Provinces_    3.00
+
+   _Italian Highways and Byways from a Motor Car_                     3.00
+
+   _The Automobilist Abroad_                                      net 3.00
+
+         (_Postage Extra_)
+
+_L. C. Page and Company_
+
+_53 Beacon Street, Boston, Mass._
+
+       *       *       *       *       *
+
+[Illustration: _Terrace of Henri IV, Saint Germain_ (_See page 286_)]
+
+[Illustration]
+
+ROYAL PALACES AND PARKS OF FRANCE
+
+by
+
+FRANCIS MILTOUN
+
+Author of "Castles and Chateaux of Old Touraine," "Castles
+and Chateaux of Old Burgundy," "Rambles in Normandy,"
+"Italian Highways and Byways
+from a Motor-Car," etc.
+
+With Many Illustrations
+Reproduced from paintings made on the spot by Blanche Mcmanus
+
+
+
+
+
+
+
+Boston
+L. C. Page & Company
+1910
+
+Copyright, 1910.
+by L. C. Page & Company.
+(Incorporated)
+All rights reserved
+
+First Impression, November, 1910
+
+Printed by
+The Colonial Press
+C. H. Simonds & Co., Boston, U. S. A.
+
+
+
+
+Preface
+
+     "A thousand years ago, by the rim of a tiny spring, a monk who had
+     avowed himself to the cult of Saint Saturnin, robed, cowled and
+     sandalled, knelt down to say a prayer to his beloved patron saint.
+     Again he came, this time followed by more of his kind, and a wooden
+     cross was planted by the side of the "Fontaine Belle Eau," by this
+     time become a place of pious pilgrimage. After the monk came a
+     king, the latter to hunt in the neighbouring forest."
+
+
+It was this old account of fact, or legend, that led the author and
+illustrator of this book to a full realization of the wealth of historic
+and romantic incidents connected with the French royal parks and
+palaces, incidents which the makers of guidebooks have passed over in
+favour of the, presumably, more important, well authenticated facts of
+history which are often the bare recitals of political rises and falls
+and dull chronologies of building up and tearing down.
+
+Much of the history of France was made in the great national forests and
+the royal country-houses of the kingdom, but usually it has been only
+the events of the capital which have been passed in review. To a great
+extent this history was of the gallant, daring kind, often written in
+blood, the sword replacing the pen.
+
+At times gayety reigned supreme, and at times it was sadness; but always
+the pageant was imposing.
+
+The day of pageants has passed, the day when lords and ladies moved
+through stately halls, when royal equipages hunted deer or boar on royal
+preserves, when gay cavalcades of solemn corteges thronged the great
+French highways to the uttermost frontiers and ofttimes beyond. Those
+days have passed; but, to one who knows the real France, a ready-made
+setting is ever at hand if he would depart a little from the beaten
+paths worn smooth by railway and automobile tourists who follow only the
+lines of conventional travel.
+
+France, even to-day, the city and the country alike, is the paradise of
+European monarchs on a holiday. One may be met at Biarritz on the shores
+of the Gascon gulf; another may be taking the waters at Aix or Vichy,
+shooting pigeons under the shadow of the Tete de Chien, or hunting at
+Rambouillet. This is modern France, the most cosmopolitan meeting place
+and playground of royalty in the world.
+
+French royal parks and palaces, those of the kings and queens of
+mediaeval, as well as later, times, differ greatly from those of other
+lands. This is perhaps not so much in their degree of splendour and
+luxury as in the sentiment which attaches itself to them. In France
+there has ever been a spirit of gayety and spontaneity unknown
+elsewhere. It was this which inspired the construction and maintenance
+of such magnificent royal residences as the palaces of Saint
+Germain-en-Laye, Fontainebleau, Versailles, Compiegne, Rambouillet,
+etc., quite different from the motives which caused the erection of the
+Louvre, the Tuileries or the Palais Cardinal at Paris.
+
+Nowhere else does there exist the equal of these inspired royal
+country-houses of France, and, when it comes to a consideration of their
+surrounding parks and gardens, or those royal hunting preserves in the
+vicinity of the Ile de France, or of those still further afield, at
+Rambouillet or in the Loire country, their superiority to similar
+domains beyond the frontiers is even more marked.
+
+In plan this book is a series of itineraries, at least the chapters are
+arranged, to a great extent in a topographical sequence; and, if the
+scope is not as wide as all France, it is because of the prominence
+already given to the parks and palaces of Touraine and elsewhere in the
+old French provinces in other works in which the artist and author have
+collaborated. It is for this reason that so little consideration has
+been given to Chambord, Amboise or Chenonceaux, which were as truly
+royal as any of that magnificent group of suburban Paris palaces which
+begins with Conflans and ends with Marly and Versailles.
+
+Going still further afield, there is in the Pyrenees that chateau, royal
+from all points of view, in which was born the gallant Henri of France
+and Navarre, but a consideration of that, too, has already been included
+in another volume.
+
+The present survey includes the royal dwellings of the capital, those of
+the faubourgs and the outlying districts far enough from town to be
+recognized as in the country, and still others as remote as Rambouillet,
+Chantilly and Compiegne. All, however, were intimately connected with
+the life of the capital in the mediaeval and Renaissance days, and
+together form a class distinct from any other monumental edifices which
+exist, or ever have existed, in France.
+
+Mere historic fact has been subordinated as far as possible to a recital
+of such picturesque incidents of the life of contemporary times as the
+old writers have handed down to us, and a complete chronological review
+has in no manner been attempted.
+
+
+
+
+Contents
+
+   CHAPTER                                                 PAGE
+
+       I. INTRODUCTORY                                       13
+      II. THE EVOLUTION OF FRENCH GARDENS                    14
+     III. THE ROYAL HUNT IN FRANCE                           43
+      IV. THE PALAIS DE LA CITE AND TOURNELLES               61
+       V. THE OLD LOUVRE AND ITS HISTORY                     75
+      VI. THE LOUVRE OF FRANCIS I AND ITS SUCCESSORS         85
+     VII. THE TUILERIES AND ITS GARDENS                     106
+    VIII. THE PALAIS CARDINAL AND THE PALAIS
+          ROYAL                                             131
+      IX. THE LUXEMBOURG, THE ELYSEE AND THE
+          PALAIS BOURBON                                    151
+      X.  VINCENNES AND CONFLANS                            168
+     XI.  FONTAINEBLEAU AND ITS FOREST                      180
+     XII. BY THE BANKS OF THE SEINE                         203
+    XIII. MALMAISON AND MARLY                               215
+     XIV. SAINT CLOUD AND ITS PARK                          229
+      XV. VERSAILLES: THE GLORY OF FRANCE                   244
+     XVI. THE GARDENS OF VERSAILLES AND THE TRIANONS        260
+    XVII. SAINT GERMAIN-EN-LAYE                             279
+   XVIII. MAINTENON                                         296
+     XIX. RAMBOUILLET AND ITS FOREST                        309
+      XX. CHANTILLY                                         324
+     XXI. COMPIEGNE AND ITS FOREST                          342
+          INDEX                                             363
+
+
+
+
+[Illustration: List of Illustrations]
+
+
+         PAGE
+
+   TERRACE OF HENRI IV, SAINT GERMAIN (_see page 286_)       _Frontispiece_
+   THE LOUVRE, THE TUILERIES AND THE PALAIS ROYAL OF TO-DAY  _facing_   12
+   "JARDIN FRANCAIS--JARDIN ANGLAIS"                                    15
+   HENRI IV IN AN OLD FRENCH GARDEN                          _facing_   20
+   PARTERRE DE DIANE, CHENONCEAUX                                       27
+   PLAN OF SUNKEN GARDEN (JARDIN CREUX)                                 30
+   A PARTERRE      _facing_ 32
+   BASSIN DE LA COURONNE, VAUX-LE-VICOMTE                    _facing_   42
+   A "CUREE AUX FLAMBEAUX"                                   _facing_   46
+   AN IMPERIAL HUNT AT FONTAINEBLEAU                         _facing_   52
+   RENDEZVOUS DE CHASSE, RAMBOUILLET                         _facing_   56
+   BIRD'S EYE VIEW OF OLD PARIS (Map)                        _facing_   74
+   THE XIV CENTURY LOUVRE                                    _facing_   82
+   THE LOUVRE                                                _facing_   90
+   ORIGINAL PLAN OF THE TUILERIES (Diagram)                            106
+   SALLE DES MARECHAUX, TUILERIES                            _facing_  116
+   THE GALLERIES OF THE PALAIS ROYAL                                   146
+   BOURBON-ORLEANS DESCENDANTS OF LOUIS PHILIPPE (Diagram)   _facing_  146
+   PALAIS DU LUXEMBOURG                                      _facing_  154
+   DOOR IN THRONE ROOM, LUXEMBOURG                                     156
+   THE PETIT LUXEMBOURG                                      _facing_  156
+   THE LUXEMBOURG GARDENS                                    _facing_  158
+   THE THRONE OF THE PALAIS BOURBON                                    161
+   VINCENNES UNDER CHARLES V                                           168
+   CHATEAU DE VINCENNES                                      _facing_  172
+   A HUNT UNDER THE WALLS OF VINCENNES                       _facing_  174
+   CONFLANS                                                            176
+   ORIGINAL PLAN OF FONTAINEBLEAU                                      180
+   FROM PARIS TO FONTAINEBLEAU (Map)                         _facing_  180
+   PALAIS DE FONTAINEBLEAU                                   _facing_  186
+   SALLE DU THRONE, FONTAINEBLEAU                            _facing_  190
+   FRAGMENTS FROM FONTAINEBLEAU                              _facing_  192
+   CHEMINEE DE LA REINE, FONTAINEBLEAU                       _facing_  194
+   MONUMENT TO ROUSSEAU AND MILLET AT BARBISON               _facing_  200
+   CHATEAU DE BAGATELLE                                                204
+   CHATEAU DE MALMAISON                                      _facing_  218
+   THE GARDENS OF SAINT CLOUD                                _facing_  236
+   THE CASCADES AT SAINT CLOUD                               _facing_  240
+   COUR DE MARBRE, VERSAILLES                                _facing_  264
+   THE POTAGER DU ROY, VERSAILLES                            _facing_  270
+   THE BASSIN DE LATONE, VERSAILLES                          _facing_  272
+   THE FOUNTAIN OF NEPTUNE, VERSAILLES                       _facing_  274
+   PETIT TRIANON                                             _facing_  276
+   LAITERIE DE LA REINE, PETIT TRIANON                                 277
+   SAINT GERMAIN (Diagram)                                             280
+   THE VALLEY OF THE SEINE, FROM THE TERRACE AT SAINT
+     GERMAIN                                                 _facing_  288
+   FAUTEUIL OF MME. DE MAINTENON                                       297
+   CHATEAU DE MAINTENON                                      _facing_  300
+   AQUEDUCT OF LOUIS XIV AT MAINTENON                        _facing_  306
+   CHATEAU DE RAMBOUILLET (Diagram)                                    309
+   LAITERIE DE LA REINE, RAMBOUILLET                         _facing_  312
+   CHATEAU DE RAMBOUILLET                                    _facing_  316
+   CHANTILLY (Diagram)                                                 325
+   STATUE OF LE NOTRE, CHANTILLY                             _facing_  326
+   CHATEAU DE CHANTILLY                                      _facing_  336
+   COMPIEGNE (Diagram)                                                 343
+   NAPOLEON'S BEDCHAMBER, COMPIEGNE                          _facing_  352
+   COURS DE COMPIEGNE                                        _facing_  356
+
+
+
+
+Royal Palaces and Parks of France
+
+
+
+
+CHAPTER I
+
+INTRODUCTORY
+
+
+The modern traveller sees something beyond mere facts. Historical
+material as identified with the life of some great architectural glory
+is something more than a mere repetition of chronologies; the sidelights
+and the co-related incidents, though indeed many of them may be but
+hearsay, are quite as interesting, quite as necessary, in fact, for the
+proper appreciation of a famous palace or chateau as long columns of
+dates, or an evolved genealogical tree which attempts to make plain that
+which could be better left unexplained. The glamour of history would be
+considerably dimmed if everything was explained, and a very seamy block
+of marble may be chiselled into a very acceptable statue if the workman
+but knows how to avoid the doubtful parts.
+
+An itinerary that follows not only the ridges, but occasionally plunges
+down into the hollows and turns up or down such crossroads as may have
+chanced to look inviting, is perhaps more interesting than one laid out
+on conventional lines. A shadowy something, which for a better name may
+be called sentiment, if given full play encourages these side-steps, and
+since they are generally found fruitful, and often not too fatiguing,
+the procedure should be given every encouragement.
+
+Not all the interesting royal palaces and chateaux of France are those
+with the best known names. Not all front on Paris streets and quays, no
+more than the best glimpses of ancient or modern France are to be had
+from the benches of a sight-seeing automobile.
+
+Versailles, and even Fontainebleau, are too frequently considered as but
+the end of a half-day pilgrimage for the tripper. It were better that
+one should approach them more slowly, and by easy stages, and leave them
+less hurriedly. As for those architectural monuments of kings, which
+were tuned in a minor key, they, at all events, need to be hunted down
+on the spot, the enthusiast being forearmed with such scraps of historic
+fact as he can gather beforehand, otherwise he will see nothing at
+Conflans, Marly or Bourg-la-Reine which will suggest that royalty ever
+had the slightest concern therewith.
+
+Dealing first with Paris it is evident it is there that the pilgrim to
+French shrines must make his most profound obeisance. This applies as
+well to palaces as to churches. In all cases one goes back into the past
+to make a start, and old Paris, what there is left of it, is still old
+Paris, though one has to leave the grand boulevards to find this out.
+
+Colberts and Haussmanns do not live to-day, or if they do they have
+become so "practical" that a drainage canal or an overhead or
+underground railway is more of a civic improvement than the laying out
+of a public park, like the gardens of the Tuileries, or the building and
+embellishment of a public edifice--at least with due regard for the best
+traditions. When the monarchs of old called in men of taste and culture
+instead of "business men" they builded in the most agreeable fashion. We
+have not improved things with our "systems" and our committees of
+"_hommes d'affaires_."
+
+It is the fashion to-day to decry the cavaliers and the wearers of
+"love-locks," but they had a pretty taste in art and an eye for artistic
+surroundings, those old fellows of the sword and cloak; a much more
+pretty taste than their descendants, the steam-heat and running-water
+partisans of to-day. Louis XV and Empire drawing and dining-rooms are
+everywhere advertised as the attractions of the great palace hotels, and
+some of them are very good copies of their predecessors, though one
+cannot help but feel that the clientele as a whole is more insistent on
+telephones in the bedrooms and auto-taxis always on tap than with regard
+to the sentiment of good taste and good cheer which is to be evoked by
+eating even a hurried meal in a room which reproduces some historically
+famous Salle des Gardes or the Chambre of the OEil de Boeuf of the
+Louvre, if, indeed, most of the hungry folk know what their surroundings
+are supposed to represent.
+
+Any chronicle which attempts to set down a record of the comings and
+goings of French monarchs is saved from being a mere dull chronology of
+dates and resume of facts by its obligatory references to the architects
+and builders who made possible the splendid settings amid which these
+picturesque rulers passed their lives.
+
+The castle builders of France, the garden designers, the architects,
+decorators and craftsmen of all ranks produced not a medley, but a
+coherent, cohesive whole, which stands apart from, and far ahead of,
+most of the contemporary work of its kind in other lands. Castles and
+keeps were of one sort in England and Scotland, of still another along
+the Rhine, and if the Renaissance palaces and chateaux first came into
+being in Italy it is certain they never grew to the flowering luxuriance
+there that they did in France.
+
+Thus does France establish itself as leader in new movements once again.
+It was so in the olden time with the arts of the architect, the
+landscape gardener and the painter; it is so to-day with respect to such
+mundane, less sentimental things as automobiles and aeroplanes.
+
+Another chapter, in a story long since started, is a repetition, or
+review, of the outdoor life of the French monarchs and their followers.
+Not only did Frenchmen of Gothic and Renaissance times have a taste for
+travelling far afield, pursuing the arts of peace or war as their
+conscience or conditions dictated; but they loved, too, the open country
+and the open road at home; they loved also _la chasse_, as they did
+tournaments, _fetes-champetres_ and outdoor spectacles of all kinds. Add
+these stage settings to the splendid costuming and the flamboyant
+architectural accessories of Renaissance times in France and we have
+what is assuredly not to be found in other lands, a spectacular and
+imposing pageant of mediaeval and Renaissance life and manners which is
+superlative from all points of view.
+
+This is perhaps hard, sometimes, to reconcile with the French attitude
+towards outdoor life to-day, when _la chasse_ means the hunting of tame
+foxes (a sport which has been imported from across the channel),
+"_sport_" means a prize fight, and a garden party or a _fete-champetre_
+a mere gossiping rendezvous over a cup of badly made tea. In the France
+of the olden time they did things differently--and better.
+
+Not all French history was made, or written, within palace walls; much
+of it came into being in the open air, like the two famous meetings by
+the Bidassoa, Napoleon's first sight of Marie Louise on the highroad
+leading out from Senlis, or his making the Pope a prisoner at the Croix
+de Saint Heram, in the Forest of Fontainebleau.
+
+It is this change of scene that makes French history so appealing to
+those who might otherwise let it remain in shut-up and dry-as-dust books
+on library shelves.
+
+The French monarchs of old were indeed great travellers, and it is by
+virtue of the fact that affairs of state were often promulgated and
+consummated _en voyage_ that a royal stamp came to be acquired by many a
+chateau or country-house which to-day would hardly otherwise be
+considered as of royal rank.
+
+Throughout France, notably in the neighbourhood of Paris, are certain
+chateaux--palaces only by lack of name--of the nobility where royalties
+were often as much at home as under their own royal standards. One
+cannot attempt to confine the limits where these chateaux are to be
+found, for they actually covered the length and breadth of France.
+
+Journeying afield in those romantic times was probably as comfortably
+accomplished, by monarchs at least, as it is to-day. What was lacking
+was speed, but they lodged at night under roofs as hospitable as those
+of the white and gold caravanserai (and some more humble) which perforce
+come to be temporary abiding places of royalties _en tour_ to-day. The
+writer has seen the Dowager Queen of Italy lunching at a neighbouring
+table at a roadside _trattoria_ in Piedmont which would have no class
+distinction whatever as compared with the average suburban road-house
+across the Atlantic. At Biarritz, too, the automobiling monarch,
+Alphonse XIII, has been known to take "tea" on the terrace of the great
+tourist-peopled hotel in company with mere be-goggled commoners. _Le
+temps va!_ Were monarchs so democratic in the olden time, one wonders.
+
+The court chronicles of all ages, and all ranks, have proved a gold
+mine for the makers of books of all sorts and conditions. Not only court
+chroniclers but pamphleteers, even troubadours and players, have
+contributed much to the records of the life of mediaeval France. All
+history was not made by political intrigue or presumption; a good deal
+of it was born of the gentler passions, and a chap-book maker would put
+often into print many accounts which the recorder of mere history did
+not dare use. History is often enough sorry stuff when it comes to human
+interest, and it needs editing only too often.
+
+Courtiers and the fashionable world of France, ever since the days of
+the poetry-making and ballad-singing Francis and Marguerite, and before,
+for that matter, made of literature--at least the written and spoken
+chronicle of some sort--a diversion and an accomplishment. Royal or
+official patronage given these mediaeval story-tellers did not always
+produce the truest tales. Then, as now, writer folk were wont to
+exaggerate, but most of their work made interesting reading.
+
+These courtiers of the itching pen did not often write for money. Royal
+favour, or that of some fair lady, or ladies, was their chief return in
+many more cases than those for which their accounts were settled by mere
+dross. It is in the work of such chroniclers as these that one finds a
+fund of unrepeated historic lore.
+
+The dramatists came on the scene with their plots ready-made (and have
+been coming ever since, if one recalls the large number of French
+costume plays of recent years), and whether they introduced errors of
+fact, or not, there was usually so much truth about their work that the
+very historians more than once were obliged to have recourse to the
+productions of their colleagues. The dramatists' early days in France,
+as in England, were their golden days. The mere literary man, or
+chronicler, was often flayed alive, but the dramatist, even though he
+dished up the foibles of a king, and without any dressing at that, was
+feted and made as much of as a record piano player of to-day.
+
+One hears a lot about the deathbed scribblers in England in the
+sixteenth and seventeenth centuries, but there was not much of that sort
+of thing in France. No one here penned bitter jibes and lascivious
+verses merely to keep out of jail, as did Nash and Marlowe in England.
+In short, one must give due credit to the court chroniclers and
+ballad-singers of France as being something more than mere pilfering,
+blackmailing hacks.
+
+All the French court and its followers in the sixteenth century shouted
+epigrams and affected being greater poets than they really were. It was
+a good sign, and it left its impress on French literature. Following in
+the footsteps of Francis I and the two Marguerites nobles vied with each
+other in their efforts to produce some epoch-making work of poesy or
+prose, and while they did not often publish for profit they were glad
+enough to see themselves in print. Then there were also the professional
+men of letters, as distinct from the courtiers with literary ambitions,
+the churchmen and courtly attaches of all ranks with the literary bee
+humming in their bonnets. They, too, left behind them an imposing
+record, which has been very useful to others coming after who were
+concerned with getting a local colour of a brand which should look
+natural.
+
+It is with such guiding lights as are suggested by the foregoing resume
+that one seeks his clues for the repicturing of the circumstances under
+which French royal palaces were erected, as well as for the truthful
+repetition of the ceremonies and functions of the times, for the court
+life of old, whether in city palace or country chateau, was a very
+different thing from that of the Republican regime of to-day.
+
+Not only were the royal Paris dwellings, from the earliest times, of a
+profound luxuriance of design and execution, but the private hotels, the
+palaces, one may well say, of the nobility were of the same superlative
+order, and kings and queens alike did not disdain to lodge therein on
+such occasions as suited their convenience. The suggestive comparison is
+made because of the close liens with which royalty and the higher
+nobility were bound.
+
+It is sufficient to recall, among others of this class, the celebrated
+Hotel de Beauvais which will illustrate the reference. Not only was this
+magnificent town house of palatial dimensions, but it was the envy of
+the monarchs themselves, because of its refined elegance of
+construction. This edifice exists to-day, in part, at No. 68 Rue
+Francois Miron, and the visitor may judge for himself as to its former
+elegance.
+
+Loret, in his "Gazette" in verse, recounts a visit made to the Hotel de
+Beauvais in 1663 by Marie Therese, the Queen of Louis XIV.
+
+   Mercredi, notre auguste Reine,
+   Cette charmante souveraine,
+   Fut chez Madame de Beauvais
+   Pour de son amiable palais
+   Voir les merveilles etonnantes
+   Et les raretes surprenantes.
+
+Times have changed, for the worse or for the better. The sedan-chair and
+the coach have given way to the automobile and the engine, and the wood
+fire to a stale calorifer, or perhaps a gas-log.
+
+The comparisons _are_ odious; there is no question as to this; but it is
+by contrast that the subject is made the more interesting.
+
+From the old Palais des Thermes (now a part of the Musee de Cluny) of
+the Roman emperors down through the Palais de la Cite (where lodged the
+kings of the first and second races) to the modern installations of the
+Louvre is a matter of twelve centuries. The record is by no means a
+consecutive one, but a record exists which embraces a dozen, at least,
+of the Paris abodes of royalty, where indeed they lived according to
+many varying scales of comfort and luxury.
+
+Not all the succeeding French monarchs had the abilities or the
+inclinations that enabled them to keep up to the traditions of the
+art-loving Francis I, but almost all of their number did something
+creditable in building or decoration, or commanded it to be done.
+
+Louis XIV, though he delayed the adjustment of Europe for two centuries,
+was the first real beautifier of Paris since Philippe Auguste. Privately
+his taste in art and architecture was rather ridiculous, but publicly he
+and his architects achieved great things in the general scheme.
+
+[Illustration: _The_ Louvre _The_ Tuileries & _The_ Palais Royal _of_
+To-Day]
+
+Napoleon I, in turn, caught up with things in a political sense, in
+truth he ran ahead of them, but he in no way neglected the
+embellishments of the capital, and added a new wing to the Louvre, and
+filled Musees with stolen loot, which remorse, or popular clamour,
+induced him, for the most part, to return at a later day.
+
+In a decade Napoleon made much history, and he likewise did much for the
+royal palaces of France. After him a gap supervened until the advent of
+Napoleon III, who, weakling that he was, had the perspicacity to give
+the Baron Haussmann a chance to play his part in the making of modern
+Paris, and if the Tuileries and Saint Cloud had not disappeared as a
+result of his indiscretion the period of the Second Empire would not
+have been at all discreditable, as far as the impress it left on Paris
+was concerned.
+
+
+
+
+CHAPTER II
+
+THE EVOLUTION OF FRENCH GARDENS
+
+
+The French garden was a creation of all epochs from the fifteenth to the
+seventeenth centuries, and, for the most part, those of to-day and of
+later decades of the nineteenth century, are adaptations and
+restorations of the classic accepted forms.
+
+From the modest _jardinet_ of the moyen-age to the ample gardens and
+_parterres_ of the Renaissance was a wide range. In their highest
+expression these early French gardens, with their _broderies_ and
+_carreaux_ may well be compared as works of art with contemporary
+structures in stone or wood or stuffs in woven tapestries, which latter
+they greatly resembled.
+
+Under Louis XIV and Louis XV the elaborateness of the French garden was
+even more an accentuated epitome of the tastes of the period. Near the
+end of the eighteenth century a marked deterioration was noticeable and
+a separation of the tastes which ordained the arrangement of
+contemporary dwellings and their gardens was very apparent. Under the
+Empire the antique style of furniture and decoration was used too, but
+there was no contemporary expression with regard to garden making.
+
+[Illustration: JARDIN FRANCAIS
+
+JARDIN ANGLAIS]
+
+In the second half of the nineteenth century, under the Second Empire,
+the symmetrical lines of the old-time _parterres_ came again into being,
+and to them were attached composite elements or motives, which more
+closely resembled details of the conventional English garden than
+anything distinctly French.
+
+The English garden was, for the most part, pure affectation in France,
+or, at best, it was treated as a frank exotic. Even to-day, in modern
+France, where an old dwelling of the period of Henri IV, Francois I,
+Louis XIII, Louis XIV, or Louis XV still exists with its garden, the
+latter is more often than not on the classically pure French lines,
+while that of a modern cottage, villa or chateau is often a poor,
+variegated thing, fantastic to distraction.
+
+Turning back the pages of history one finds that each people, each
+century, possessed its own specious variety of garden; a species which
+responded sufficiently to the tastes and necessities of the people, to
+their habits and their aspirations.
+
+Garden-making, like the art of the architect, differed greatly in
+succeeding centuries, and it is for this reason that the garden of the
+moyen-age, of the epoch of the Crusades, for example, did not bear the
+least resemblance to the more ample _parterres_ of the Renaissance.
+Civilization was making great progress, and it was necessary that the
+gardens should be in keeping with a less restrained, more luxurious
+method of life.
+
+If the gardens of the Renaissance marked a progress over the _preaux_
+and _jardinets_ of mediaevalism, those of Le Notre were a blossoming
+forth of the Renaissance seed. Regretfully, one cannot say as much for
+the garden plots of the eighteenth century, and it was only with the
+mid-nineteenth century that the general outlines took on a real charm
+and attractiveness again, and this was only achieved by going back to
+original principles.
+
+The first gardens were the _vergers_ and _preaux_, little checker-board
+squares of a painful primitiveness as compared with later standards.
+These squares, or _carreaux_, were often laid out in foliage and
+blossoming plants as suggestive as possible of their being made of
+carpeting or marble. When these miniature enclosures came to be
+surrounded with trellises and walls the Renaissance in garden-making may
+be considered as having been in full sway.
+
+Under Louis XIV a certain affluence was noticeable in garden plots, and
+with Louis XV an even more notable symmetry was apparent in the
+disposition of the general outlines. By this time, the garden in France
+had become a frame which set off the architectural charms of the
+dwelling rather than remaining a mere accessory, but it was only with
+the replacing of the castle-fortress by the more domesticated chateau
+that a really generous garden space became a definite attribute of a
+great house.
+
+The first gardens surrounding the French chateaux were developments, or
+adaptations, of Italian gardens, such as were designed across the Alps
+by Mercogliano, during the feudal period.
+
+Later, and during the time of the Crusades, the garden question hardly
+entered into French life. Gardens, like all other luxuries, were given
+little thought when the graver questions of peace and security were to
+be considered, and, for this reason, there is little or nothing to say
+of French gardens previous to the twelfth century.
+
+An important species of the gardens of the moyen-age was that which was
+found as an adjunct to the great monastic institutions, the _preaux_,
+which were usually surrounded by the cloister colonnade. One of the most
+important of these, of which history makes mention, was that of the
+Abbaye de Saint Gall, of which Charlemagne was capitular. It was he who
+selected the plants and vegetables which the dwellers therein should
+cultivate.
+
+Of the twelfth and thirteenth centuries there is an abundant literary
+record, and, in a way, a pictorial record as well. From these one can
+make a very good deduction of what the garden of that day was like;
+still restrained, but yet something more than rudimentary. From now on
+French gardens were divided specifically into the _potager_ and
+_verger_.
+
+The _potager_ was virtually a vegetable garden within the walls which
+surrounded the seigneurial dwelling, and was of necessity of very
+limited extent, chiefly laid out in tiny _carreaux_, or beds, bordered
+by tiles or bricks, much as a small city garden is arranged to-day. Here
+were cultivated the commonest vegetables, a few flowers and a liberal
+assortment of herbs, such as rue, mint, parsley, sage, lavender, etc.
+
+The _verger_, or _viridarium_, was practically a fruit garden, as it is
+to-day, with perhaps a generous sprinkling of flowers and aromatic
+plants. The _verger_ was always outside the walls, but not far from the
+entrance or the drawbridge crossing the moat and leading to the chateau.
+
+It was to the _verger_, or orchard, curiously enough, that in times of
+peace the seigneur and his family retired after luncheon for diversion
+or repose.
+
+   "D illocques vieng en cest vergier
+   Eascuns jour pour s'esbanoier."
+
+Thus ran a couplet of the "Roman de Thebes"; and of the hundred or more
+tales of chivalry in verse, which are recognized as classic, nearly all
+make mention of the _verger_.
+
+It was here that young men and maidens came in springtime for the fete
+of flowers, when they wove chaplets and garlands, for the moyen-age had
+preserved the antique custom of the coiffure of flowers, that is to say
+hats of natural flowers, as we might call them to-day, except that
+modern hats seemingly call for most of the products of the barnyard and
+the farm in their decoration, as well as the flowers of the field.
+
+The rose was queen among all these flowers and then came the lily and
+the carnation, chiefly in their simple, savage state, not the highly
+cultivated product of to-day. From the ballads and the love songs, one
+gathers that there were also violets, eglantine, daisies, pansies,
+forget-me-nots, and the marguerite, or _consoude_, was one of the most
+loved of all.
+
+The carnation, or _oeillet_, was called _armerie_; the pansy was
+particularly in favour with the ladies, who embroidered it on their
+handkerchiefs and their girdles. Still other flowers found a place in
+this early horticultural catalogue, the marigold, gladiolus, stocks,
+lily-of-the-valley and buttercups.
+
+Frequently the _verger_ was surrounded by a protecting wall, of more or
+less architectural pretense, with towers and accessories conforming to
+the style of the period, and decorative and utilitarian fountains,
+benches and seats were also common accessories.
+
+[Illustration: _Henri IV in an Old French Garden_]
+
+The old prints, which reproduced these early French gardens, are most
+curious to study, amusing even; but their point of view was often
+distorted as to perspective. In the thirteenth and fourteenth centuries,
+perspective was almost wholly ignored in pictorial records. There was
+often no scale, and no depth; everything was out of proportion with
+everything else, and for this reason it is difficult to judge of the
+exact proportions of many of these early French gardens.
+
+The origin of garden-making in France, in the best accepted sense of the
+term, properly began with the later years of the thirteenth century and
+the early years of the fourteenth; continuing the tradition, remained
+distinctly French until the mid-fifteenth century, for the Italian
+influence did not begin to make itself felt until after the Italian wars
+and travels of Charles VIII, Louis XI and Francis I.
+
+The earliest traces of the work of the first two of these monarchs are
+to be seen at Blois and, for a time henceforth, it is to be presumed
+that all royal gardens in France were largely conceived under the
+inspiration of Italian influences. Before, as there were primitives in
+the art of painting in France, there were certainly French gardeners in
+the fourteenth and fifteenth centuries. One of these, whoever he may
+have been, was the designer of the _preaux_ and the _treilles_ of the
+Louvre of Charles V, of which a pictorial record exists, and he, or
+they, did work of a like nature for the powerful house of Bourgogne, and
+for Rene d'Anjou, whom we know was a great amateur gardener.
+
+The archives of these princely houses often recount the expenses in
+detail, and so numerous are certain of them that it would not be
+difficult to picture anew as to just what they referred.
+
+Debanes, the gardener of the Chateau d'Angers, on a certain occasion,
+gave an accounting for "X Sols" for repairing the grass-plots and for
+making a _petit preau_. Again: "XI Sols" for the employ of six gardeners
+to trim the vines and clean up the alleys of the _grand_ and _petit
+jardin_.
+
+Luxury in all things settled down upon all France to a greater degree
+than hitherto in the fourteenth and fifteenth centuries, and almost
+without exception princely houses set out to rival one another in the
+splendour of their surroundings. Now came in the ornamental garden as
+distinct from the _verger_, and the _preau_ became a greensward
+accessory, at once practical and decorative, the precursor of the
+_pelouse_ and the _parterre_ of Le Notre.
+
+The _preau_ (in old French _prael_) was a symmetrical square or
+rectangular grass-grown garden plot. From the Latin _pratum_, or
+_pratellum_, the words _preau_, _pre_ and _prairie_ were evolved
+naturally enough, and came thus early to be applied in France to that
+portion of the pleasure garden set out as a grassy lawn. The word is
+very ancient, and has come down to us through the monkish vocabulary of
+the cloister.
+
+Some celebrated verse of Christine de Pisan, who wrote "The Life of
+Charles V," thus describes the cloister at Poissy.
+
+   "Du cloistre grand large et especieux
+   Que est carre, et, afin qu'il soit mieulx
+   A un prael, ou milieu, gracieux
+   Vert sans grappin
+   Ou a plante en my un tres hault pin."
+
+It was at this period, that of Saint Louis and the apotheosis of Gothic
+architecture, that France was at the head of European civilization,
+therefore in no way can her preeminence in garden-making be questioned.
+
+The gardens of the Gothic era seldom surpassed the _enclos_ with a
+rivulet passing through it, a spring, a pine tree giving a welcome
+shade, some simple flowers and a _verger_ of fruit trees.
+
+The neighbours of France were often warring among themselves but the
+Grand Seigneur here was settling down to beautifying his surroundings
+and framing his chateaux, manors and country-seats in dignified and most
+appealing pictures. Grass-plots appeared in dooryards, flowers climbed
+up along castle walls and shrubs and trees came to play a genuinely
+esthetic role in the life of the times.
+
+An illustrious stranger, banished from Italy, one Brunetto Latini, the
+master of Dante, who had sought a refuge in France, wrote his views on
+the matter, which in substance were as above.
+
+About this time originated the progenitors of the _gloriettes_, which
+became so greatly the vogue in the eighteenth century. Practically the
+_gloriette_, a word in common use in northern France and in Flanders,
+was a _logette de plaisance_. The Spaniards, too, in their _glorietta_,
+a pavilion in a garden, had practically the same signification of the
+word.
+
+In the fourteenth century French garden the _gloriette_ was a sort of
+arbour, or trellis-like summer-house, garnished with vines and often
+perched upon a natural or artificial eminence. Other fast developing
+details of the French garden were tree-bordered alleys and the planting
+of more or less regularly set-out beds of flowering plants.
+
+Vine trellises and vine-clad pavilions and groves were a speedy
+development of these details, and played parts of considerable
+importance in gardening under the French Renaissance.
+
+In this same connection there is a very precise record in an account of
+the gardens of the Louvre under Charles V concerning the contribution of
+one, Jean Baril, maker of Arlors, to this form of the landscape
+architect's art.
+
+"Ornamental birds--peacocks, pheasants and swans now came in as adjuncts
+to the French land and water garden." This was the way a certain
+pertinent comment was made by a writer of the fifteenth century. From
+the "Menagier de Paris," a work of the end of the fourteenth century,
+one learns that behind a dwelling of a prince or noble of the time was
+usually to be found a "_beau jardin tout plante d'arbres a fruits, de
+legumes, de rosiers, orne de volieres et tapise de gazon sur lesquels se
+promenent les paons_."
+
+French gardens of various epochs are readily distinguished by the width
+of their alleys. In the moyen-age the paths which separated the garden
+plots were very narrow; in the early Renaissance period they were
+somewhat wider, taking on a supreme maximum in the gardens of Le Notre.
+
+Trimmed trees entered into the general scheme in France towards the end
+of the fifteenth century. Under Henri IV and under Louis XII trees were
+often trimmed in ungainly, fantastic forms, but with the advent of Le
+Notre the good taste which he propagated so widely promptly rejected
+these grotesques, which, for a fact, were an importation from Flanders,
+like the _gloriettes_. Not by the remotest suggestion could a clipped
+yew in the form of a peacock or a giraffe be called French. Le Notre
+eliminated the menagerie and the aviary, but kept certain geometrical
+forms, particularly with respect to hedges, where niches were frequently
+trimmed out for the placing of statues, columns surmounted with golden
+balls, etc.
+
+The most famous of the frankly Renaissance gardens developed as a result
+of the migrations of the French monarchs in Italy were those surrounding
+such palaces and chateaux as Fontainebleau, Amboise, and Blois. Often
+these manifestly French gardens, though of Italian inspiration in the
+first instance, were actually the work of Italian craftsmen. Pucello
+Marceliano at four hundred _livres_ and Edme Marceliano at two hundred
+_livres_ were in the employ of Henri II. It was the former who laid out
+the magnificent _Parterre de Diane_ at Chenonceaux, where Catherine de
+Medici later, being smitten with the skill of the Florentines, gave the
+further commission of the _Jardin Vert_, which was intended to complete
+this _parterre_, to Henri le Calabrese and Jean Collo.
+
+The later Renaissance gardens divided themselves into various classes,
+_jardins de plaisir_, _jardins de plaisance_, _jardins de proprete_,
+etc. _Parterres_ now became of two sorts, _parterres a compartiments_
+and _parterres de broderies_, names sufficiently explicit not to need
+further comment.
+
+[Illustration: _"Parterre de Diane," Chenonceaux_]
+
+It is difficult to determine just how garden _broderies_ came into
+being. They may have been indirectly due to woman's love of embroidery
+and the garden alike. The making of these garden _broderies_ was a
+highly cultivated art. Pierre Vallet, embroiderer to Henri IV, created
+much in his line of distinction and note, and acquired an extensive
+clientele for his flowers and models. Often these gardens, with their
+_parterres_ and _broderies_ were mere additions to an already existing
+architectural scheme, but with respect to the gardens of the Luxembourg
+and Saint Germain-en-Laye they came into being with the edifices
+themselves, or at least those portions which they were supposed to
+embellish. Harmony was then first struck between the works of the
+horticulturist--the garden-maker--and those of the architect--the
+builder in stone and wood. This was the prelude to those majestic
+ensembles of which Le Notre was to be the composer.
+
+Of the celebrated French palace and chateau gardens which are not
+centered upon the actual edifices with which they are more or less
+intimately connected, but are distinct and apart from the gardens which
+in most cases actually surround a dwelling, may be mentioned those of
+Montargis, Saint Germain, Amboise, Villers-Cotterets and Fontainebleau.
+These are rather parks, like the "home-parks," so called, in England,
+which, while adjuncts to the dwellings, are complete in themselves and
+are possessed of a separate identity, or reason for being. Chiefly
+these, and indeed most French gardens of the same epoch, differ greatly
+from contemporary works in Italy in that the latter were often built and
+terraced up and down the hillsides, whereas the French garden was laid
+out, in the majority of instances, on the level, though each made use of
+interpolated architectural accessories such as balustrades, statuary,
+fountains, etc.
+
+Mollet was one of the most famous gardeners of the time of Louis XIV. He
+was the gardener of the Duc d'Aumale, who built the gardens of the
+Chateau d'Anet while it was occupied by Diane de Poitiers, and for their
+time they were considered the most celebrated in France for their upkeep
+and the profusion and variety of their flowers. This was the highest
+development of the French garden up to this time.
+
+It is possible that this Claude Mollet was the creator of the
+_parterres_ and _broderies_ so largely used in his time, and after.
+Mollet's formula was derived chiefly from flower and plant forms,
+resembling in design oriental embroideries. He made equal use of the
+labyrinth and the sunken garden. His idea was to develop the simple
+_parquet_ into the elaborate _parterre_. He began his career under Henri
+III and ultimately became the gardener of Henri IV. His elaborate work
+"Theatre des Plans et Jardinage" was written towards 1610-1612, but was
+only published a half a century later. It was only in the sixteenth
+century that gardens in Paris were planned and developed on a scale
+which was the equal of many which had previously been designed in the
+provinces.
+
+[Illustration: PLAN of SUNKEN GARDEN (_JARDIN CREUX_)]
+
+The chief names in French gardening--before the days of Le Notre--were
+those of the two Mollets, the brothers Boyceau, de la Barauderie and
+Jacques de Menours, and all successively held the post of Superintendent
+of the Garden of the King.
+
+In these royal gardens there was always a distinctly notable feature,
+the _grand roiales_, the principal avenues, or alleys, which were here
+found on a more ambitious scale than in any of the private gardens of
+the nobility. The central avenue was always of the most generous
+proportions, the nomenclature coming from royal--the _grand roial_ being
+the equivalent of _Allee Royale_, that is, Avenue Royal.
+
+By the end of the sixteenth century the Garden of the Tuileries, which
+was later to be entirely transformed by Le Notre, offered an interesting
+aspect of the _parquet_ at its best. In "_Paris a Travers les Ages_" one
+reads that from the windows of the palace the garden resembled a great
+checker-board containing more than a hundred uniform _carreaux_. There
+were six wide longitudinal alleys or avenues cut across by eight or ten
+smaller alleys which produced this rectangular effect. Within some of
+the squares were single, or grouped trees; in others the conventional
+_quincunx_; others were mere expanses of lawn, and still others had
+flowers arranged in symmetrical patterns. In one of these squares was a
+design which showed the escutcheons of the arms of France and those of
+the Medici. These gardens of the Tuileries were first modified by a
+project of Bernard Palissy, the porcelainiste. He let his fancy have
+full sway and the criss-cross alleys and avenues were set out at their
+junctures with moulded ornaments, enamelled miniatures, turtles in
+faience and frogs in porcelain. It was this, perhaps, which gave the
+impetus to the French for their fondness to-day for similar effects, but
+Bernard Palissy doubtless never went so far as plaster cats on a
+ridgepole, as one may see to-day on many a pretty villa in northern
+France. This certainly lent an element of picturesqueness to the
+Renaissance Garden of the Louvre, a development of the same spirit which
+inspired this artist in his collaboration at Chenonceaux. This was the
+formula which produced the _jardin delectable_, an exaggeration of the
+taste of the epoch, but still critical of its time.
+
+The gardens of the Renaissance readily divided themselves into two
+classes, those of the _parterres a compartiments_ and those of the
+_parterres de broderies_. The former, under Francis I and Henri II, were
+divided into geometrical compartments thoroughly in the taste of the
+Renaissance, but bordered frequently with representations of designs
+taken from Venetian lace and various other contemporary stuffs. There
+were other _parterres_, where the compartments were planned on a more
+utilitarian scale; in other words, they were the _potagers_ which
+rendered the garden, said Olivier de Serres, one of "profitable
+beauty." Some of the compartments were devoted entirely to herbs and
+medicinal plants while others were entirely given over to flowers. In
+general the compartments were renewed twice a year, in May and August.
+
+[Illustration: _A Parterre_]
+
+The _Grand Parterre_ at Fontainebleau, called in other days the
+_Parterre de Tiber_, offered as remarkable an example of the terrace
+garden as was to be found in France, the terraces rising a metre or more
+above the actual garden plot and enclosing a sort of horticultural
+arena.
+
+It was in the sixteenth century that architectural motives came to be
+incorporated into the gardens in the form of square, round or octagonal
+pavilions, and here and there were added considerable areas of tiled
+pavements, features which were found at their best in the gardens of the
+Chateau de Gaillon and at Langeais.
+
+One special and distinct feature of the French Renaissance garden was
+the labyrinth, of which three forms were known. The first was composed
+of merely low borders, the second of hedges shoulder high, or even
+taller, and the third was practically a roofed-over grove. The latter
+invention was due, it is said, to the discreet Louis XIV. In the
+Tuileries garden, in the time of Catherine de Medici, there was a
+labyrinth greatly in vogue with the Parisian nobles who "found much
+pleasure in amusing themselves therein."
+
+In that garden the labyrinth was sometimes called the "Road of
+Jerusalem" and it was presumably of eastern origin.
+
+In the seventeenth century grottos came to be added to the garden,
+though this is seemingly an Italian tradition of much earlier date.
+Among the notable grottos of this time were that of the _Jardin des
+Pins_ at Fontainebleau, and that of the Chateau de Meudon, built by
+Philibert Delorme, of which Ronsard celebrated its beauties in verse.
+The art was not confined to the gardens of royalties and the nobility,
+for the _bourgeoisie_ speedily took up with the puerile idea (said to
+have come from Holland, by the way), and built themselves grottos of
+shells, plaster and boulders. It was then that the _chiens de faience_,
+which the smug Paris suburbanite of to-day so loves, were born.
+
+By the seventeenth century the equalized _carreaux_ of the early
+geometrically disposed gardens were often replaced with the oblongs,
+circles and, somewhat timidly introduced, more bizarre forms, the idea
+being to give variety to the ensemble. There was less fear for the
+artistic effect of great open spaces than had formerly existed, and the
+avenues and alleys were considerably enlarged, and such architectural
+and sculptural accessories as fountains, balustrades and perrons were
+designed on a more extensive scale. Basins and canals and other
+restrained surfaces of water began to appear on a larger scale, and
+greater insistence was put upon their proportions with regard to the
+decorative part which they were to play in the ensemble.
+
+This was the preparatory period of the coming into being of the works of
+Le Notre and Mansart.
+
+The _Grand Siecle_ lent a profound majesty to royal and noble dwellings,
+and its effect is no less to be remarked upon than the character of
+their gardens. The moving spirit which ordained all these things was the
+will of the _Roi Soleil_.
+
+_Parterres_ and _broderies_ were designed on even a grander scale than
+before. They were frequently grouped into four equal parts with a
+circular basin in the centre, and mirror-like basins of water sprang up
+on all sides.
+
+Close to the royal dwelling was the fore-court, as often dressed out
+with flowers and lawn as with tiles and flags. From it radiated long
+alleys and avenues, stretching out almost to infinity. At this time the
+grass-plots were developed to high order, and there were groves,
+rest-houses, bowers, and _theatres de verdure_ at each turning.
+Tennis-courts came to be a regularly installed accessory, and the basins
+and "mirrors" of water were frequently supplemented by cascades, and
+some of the canals were so large that barges of state floated thereon.
+Over some of the canals bridges were built as fantastic in design as
+those of the Japanese, and again others as monumental as the Pont Neuf.
+
+In their majestic regularity the French gardens of the seventeenth
+century possessed an admirable solemnity, albeit their amplitude and
+majesty give rise to justifiable criticism. It is this criticism that
+qualifies the values of such gardens as those of Versailles and Vaux,
+but one must admit that the scale on which they were planned has much to
+do with this, and certainly if they had been attached to less majestic
+edifices the comment would have been even more justifiable. As it is,
+the criticism must be qualified.
+
+The aspect of the garden by this time had been greatly modified. Aside
+from such great ensembles as those of Versailles was now to be
+considered a taste for something smaller, but often overcrowded with
+accessories of the same nature, which compared so well with the vastness
+of Versailles, but which, on the other hand, looked so out of place in
+miniature.
+
+It was not long now before the "style pompadour" began to make itself
+shown with regard to garden design--the exaggeration of an undeniable
+grace by an affected mannerism. All the rococco details which had been
+applied to architecture now began to find their duplication in the
+garden rockeries--weird fantasies built of plaster and even shells of
+the sea.
+
+By later years of the eighteenth century there came on the scene as a
+designer of gardens one, De Neufforge. His work was a prelude to the
+classicism of the style of Louis XVI which was to come. There was, too,
+at this time a disposition towards the English garden, but only a slight
+tendency, though towards 1780 the conventional French garden had been
+practically abandoned. The revolution in the art of garden-making
+therefore preceded that of the world of politics by some years.
+
+There are three or four works which give specific details on these
+questions. They are "_De la Distribution des Maisons de Plaisance_," by
+Blondel (1773), his "_Cours d'Architecture_" of the same date, and
+Panseron's volume entitled "_Recueil de Jardinage_," published in 1783.
+
+The following brief resume shows the various steps through which the
+French formal garden passed. In the moyen-age the garden was a thing
+quite apart from the dwelling, and was but a diminutive dooryard sort of
+a garden. The garden of the Renaissance amplified the regular lines
+which existed in the moyen-age, but was often quite as little in accord
+with the dwelling that it surrounded as its predecessor.
+
+The union of the garden and the dwelling and its dependencies was
+clearly marked under Louis XIV, while the gardens of Louis XV tended
+somewhat to modify the grand lines and the majestic presence of those of
+his elder. These gardens of Louis XV were more fantastic, and followed
+less the lines of traditional good taste. Shapes and forms were
+complicated and indeed inexplicably mixed into a melange that one could
+hardly recognize for one thing or another, certainly not as examples of
+any well-meaning styles which have lasted until to-day. The straight
+line now disappeared in favour of the most dissolute and irrational
+curves imaginable, and the sober majesty of the gardens of Louis XIV
+became a tangle of warring elements, fine in parts and not
+uninteresting, effective, even, here and there, but as a whole an
+aggravation.
+
+Finally the reaction came for something more simple and more in harmony
+with rational taste.
+
+The best example remaining of the Louis XV garden is that which
+surrounds the _Pavillon de Musique_ of the Petit Trianon, an addition
+to the garden which Louis XIV had given to the Grand Trianon. By
+comparison with the big garden of Le Notre this latter conception is as
+a boudoir to a reception hall.
+
+The garden of Louis XVI was a composite, with interpolations from across
+the Rhine, from Holland and Belgium and from England even; features
+which got no great hold, however, but which, for a time, gave it an air
+less French than anything which had gone before.
+
+From the beginning of the nineteenth century the formal garden was
+practically abandoned in France. It was the period of the real decadence
+of the formal garden. This came not from one cause alone but from many.
+To the straight lines and gentle curves of former generations upon
+generations of French gardens were added sinuosities as varied and
+complicated as those of the Vale of Cashmere, and again, with tiny stars
+and crescents and what not, the ground resembled an ornamental ceiling
+more than it did a garden. The sentimentalism of the epoch did its part,
+and accentuated the desire to carry out personal tastes rather than
+build on traditionally accepted lines. The taste for the English garden
+grew apace in France, and many a noble plantation was remodelled on
+these lines, or rooted up altogether. Immediately neighbouring upon the
+dwelling the garden still bore some resemblance to its former outlines,
+but, as it drew farther away, it became a park, a wildwood or a
+preserve.
+
+Isabey Pere, a miniaturist, under Napoleonic stimulus, designed a number
+of French gardens in the early years of the nineteenth century,
+following more or less the conventional lines of the best work of the
+seventeenth century, and succeeded admirably in a small way in
+resuscitating the fallen taste. Isabey's gardens may have lacked much
+that was remarkable in the best work of Le Notre, but they were
+considerably better than anything of a similar nature, so far as
+indicating a commendable desire to return to better ideals.
+
+Under the Second Empire a great impulse was given to garden design and
+making in Paris itself. It was then that the parks and squares came
+really to enter into the artistic conception of what a city beautiful
+should be.
+
+Leaving the gardens of the Tuileries and the Luxembourg out of the
+question, the Parc Monceau and that of the Buttes Chaumont of to-day,
+the descendants of these first Paris gardens show plainly how thoroughly
+good they were in design and execution.
+
+The majority of professional gardeners of renown in France made their
+first successes with the gardens of the city of Paris, reproducing the
+best of the sixteenth, seventeenth and eighteenth century work, which
+had endured without the competition of later years having dulled its
+beauty, though perhaps the _parterres_ of to-day are rather more warm in
+colouring, even cruder, than those of a former time.
+
+The _jardin fleuriste_ and the _parterre horticole_ of the nineteenth
+century appealed however quite as much in their general arrangement and
+the modification of their details and their rainbow colours, as any
+since the time of Louis XVI. According to the expert definition the
+_jardin fleuriste_ was a "garden reserved exclusively to the culture and
+ornamental disposition of plants giving forth rich leaves and beautiful
+flowers." The above quoted description is decidedly apt.
+
+The seventeenth century French garden formed a superb framing for the
+animated fetes and reunions in which took part such a brilliant array of
+lords and ladies of the court as may have been invited to taste the
+delicacies of a fete amid such luxurious appointments.
+
+The fashionable and courtly life of the day, so far as its open-air
+aspect was concerned, centered around these gardens and parks of the
+great houses of royalty and the nobility. The costume of the folk of the
+time, with cloak and sword and robes of silk and velvet and gilded
+carriages and _chaises-a-porteurs_, had little in common with the
+out-of-door garden-party life of to-day, where the guests arrive in
+automobiles, be-rugged and be-goggled and somewhat the worse for a dusty
+journey. It is for this reason that Versailles and Vaux-le-Vicomte, in
+spite of the suggestion of sumptuousness which they still retain, are,
+from all points of view, more or less out of scale with the life of our
+times.
+
+The modern garden, whether laid out in regular lines, or on an
+ornamental scale, as a flower garden purely, or in a composite style, is
+usually but an adjunct to the modern chateau, villa or cottage. It is
+more intimate than the vast, more theatrically disposed area of old, and
+is more nearly an indication of the personal tastes of the owner because
+of its restrained proportions.
+
+[Illustration: _Bassin de la Couronne, Vaux-le-Vicomte_]
+
+
+
+
+CHAPTER III
+
+THE ROYAL HUNT IN FRANCE
+
+
+Just how great a part the royal hunt played in the open-air life of the
+French court all who know their French history and have any familiarity
+with the great forests of France well recognize.
+
+The echo of French country architecture as evinced in the "_maisons de
+plaisance_" and "_rendezvous de chasse_" scattered up and down the
+France of monarchial times lives until to-day, scarcely fainter than
+when the note was originally sounded. Often these establishments were
+something more than a mere hunting-lodge, or shooting-box, indeed they
+generally aspired to the proportions of what may readily be accepted as
+a country-house. They established a specious type of architecture which
+in many cases grew, in later years, into a chateau or palace of
+manifestly magnificent appointments.
+
+At the great hunting exposition recently held at Vienna the _clou_ of
+the display was a French royal hunting-lodge in the style of Louis XVI,
+hung with veritable Gobelin tapestries, loaned by the French government
+and picturing "The Hunt in France." It was called by the critics a
+unique painting in a beautiful frame.
+
+In the days of Francis I and his sons, the royal hunt was given a great
+impetus by Catherine de Medici, wife of Henri II.
+
+Francis, in company with his sons, had gone to Marseilles to meet the
+Medici bride, who was on her way to make her home at the Paris Louvre,
+and when he found her possessed of so lively manners and such great
+intelligence he became so charmed with her that, it is said, he danced
+with her all of the first evening. What pleased the monarch even more,
+and perhaps not less his sons, was that she shot with an arquebuse like
+a sharpshooter, and could ride to hounds like a natural-born Amazon. She
+was more than a rival, as it afterwards proved, of that arch-huntress,
+Diane de Poitiers.
+
+History recounts in detail that last royal hunt of Francis I at
+Rambouillet, when he was lying near to death, the guest of his old
+friend, d'Angennes.
+
+The old manor, half hunting-lodge, half fortress, and very nearly royal
+in all its appointments, proved a comfortable enough rest-house, and on
+the day after his arrival, in March, 1547, the monarch commanded the
+preparations for a royal hunt to commence at daybreak in the
+neighbouring forest.
+
+The equipage started forth in full ceremonial on the quest of stag and
+boar. The bugles blew and a sort of stimulated courage once more entered
+the king's breast, courage born of the excitement around him, the baying
+of the hounds and the tramping and neighing of impatient horses. He had
+forced himself from his bed and on horseback and started off with the
+rest, defying the better counsel of his retainers.
+
+His strength proved to be born of a fictitious enthusiasm, and, speedily
+losing interest, he was brought back to the manor where he had his
+apartments, and put speechless and half dead to bed, actually dying the
+next day from this last over-exertion, scarce half a century of the span
+of his life accomplished.
+
+Henri de Navarre also was a true lover of the open. Born in a mountain
+town in the Pyrenees he would rather camp on a bed of pine needles in
+the forest than lie on a tuft of down. He preferred his beloved Bayonne
+ham, spiced with garlic, to a sumptuous dinner in _Jarnet_ house, a
+famous Paris tavern of the day; and had rather quench his thirst with a
+quaff of the wine of Jurancon than the finest _cru_ in Paris cellars.
+
+He hated the parade of courts, was dirty, unkempt and careless, a
+genuine son of the soil, heedless of fate, and an excellent huntsman.
+
+Up to the seventeenth century the ladies of the French court showed a
+keener interest for falconry than for the hunt by horse and hounds.
+
+The heroines of the Fronde, and the generation which followed, seemed to
+lose interest in this form of sport, and gave their favour to packs of
+hounds, and followed with equal interest the hunt for deer, wolves,
+boars, foxes and hares as they were tracked through forests and over
+arid wastes.
+
+The old hunting horn, the winding horn of romance, still exists at the
+hunts of France, a relic of the days of Louis XIV. It sounds the
+conventional comings and goings of the huntsmen in the same classic
+phraseology as of old--the _lancer_, the _bien allee_, the _vue_, the
+_changement de foret_, the _accompagne_, the _bat l'eau_, the _hallali
+par terre_, and the _curee_.
+
+The "_Curee aux Flambeaux_" was one of the most picturesque ceremonies
+connected with the royal hunt in France. It began in the gallant days,
+and lived even until the time of the Second Empire.
+
+[Illustration: _A "Curee aux Flambeaux"_]
+
+The _curee_, that is the giving up to the hounds the remains of an
+animal slain in chase, does not always take place at night, but when
+it does the torches play the part of impressive and picturesque
+accessories. When a _curee_ takes place at the spot where the animal is
+actually killed the French sporting term for the ceremony is "_force et
+abattu_." This, however, is usually preceded by another called "_le
+pied_," which consists in cutting off one of the feet of the dead animal
+and offering it to the person in whose honor the hunt was held.
+
+When the _curee_ takes place by torchlight the body of the animal is
+carried beneath the windows of the chateau, a circle is formed by the
+"_piqueurs_," or head hunters, and all who have participated in the
+pursuit; and, to the sound of a trumpet, loaned by the sportsmen, one of
+the _valets de venerie_ cuts up the stag. The _meutes_, that is to say,
+the hounds which are let slip last of all, and which terminates the
+chase--are then brought by the _valet des chiens_, who has great
+difficulty in keeping them from breaking loose. When the entrails have
+been cut away the valet sits astride the animal, holding up the _nappe_,
+or head and neck, shaking it at the already furious hounds. It is the
+care of the valet during this interval to conceal the pieces of flesh
+which are still under the body. The hounds are then loosened, but are
+kept within bounds by the whips of the _piqueurs_ and the _valet des
+chiens_. When the dogs are sufficiently exasperated the brutes are
+allowed to rush upon the remains of their victim; only, however, to be
+driven back again by whipping. When their docility has thus been proven
+the definite signal, "_lachez tout_," is given, and the hounds rush
+towards the stag.
+
+The _curee_ then presents a savage spectacle: the air is filled with
+growling, barking and yelling, while the ground is covered with
+scrambling dogs, their mouths reeking with blood.
+
+The feminine costume for the hunt in the time of Louis XIII was of
+broadcloth or velvet, with a great feather-ornamented "picture" hat.
+Only now and again a lady on horseback after 1650 dared borrow doublet
+and jacket, and mount astride.
+
+The ladies followed the hunt of Louis XIV on horseback, seldom, if ever,
+in the older manner of sitting behind their cavalier on the same steed.
+From the time of Catherine de Medici, indeed, the Italian side-saddle
+had become the fashion for women.
+
+Under Louis XV the ladies sought a little more comfort, and followed the
+equipage sitting in a sort of hamper-like, diminutive basket, hung from
+the broad back of a sturdy quadruped. Dresses became more fanciful,
+both in materials and colours. From this it was but a step to even more
+elaborate toilettes which necessitated a conveyance of some sort on
+wheels, but the most intrepid still clung to the traditionally classic
+methods. Marie Antoinette had her _equipage de chasse_, and Madame
+Durfort was constantly abroad in the forests of Montmorency and Boissy,
+directing the operation of eight or ten professional huntsmen. Among her
+guests were frequently the ambassadors of Prussia, Russia and Austria.
+
+In the time of Louis XIV the Comtesse de Lude devoted herself to the
+hunt with a frenzy born of an inordinate enthusiasm. At the head of a
+pack of hounds she knew no obstacle, and, on one occasion, penetrated on
+horseback, followed by her dogs, into the oratory of the nuns of the
+Convent of Estival.
+
+By the end of the seventeenth century the hunt in France had become no
+more a sport for ladies. Hunting was still a noble sport, but it was
+more for men than for women. The court hunted not only in royal company,
+but accepted invitations from any seigneur who possessed an ample
+preserve and who could put up a good kill; magistrates, financiers and
+bishops, indeed all classes, became followers of the hunt.
+
+Montgaillard tells of a hunt in which he took part on the feast day of
+Saint Bernard, with the monks of the Bernardin Convent in Languedoc. In
+the episcopal domain of Saverne six hundred beaters were employed on one
+occasion to provide sport for an assembled company of lords and ladies.
+These were the days when the bishops were in truth _Grand Seigneurs_.
+
+The women of the court, while they played the game, ceded nothing to the
+men in bravery. Neither rain, hail nor snow frightened them. On the 28th
+of June, 1713, Louis XIV was hunting the deer at Rambouillet when a
+terrific, cyclonic storm fell upon the equipage, but not a man nor woman
+in the monarch's party quit. The Duchesse de Berry was "wet to the
+skin," but her ardour for the hunt was not in the least cooled.
+
+To-day at Fontainebleau or Rambouillet the echo is sounded from the
+hunting horn of Labaudy, the sugar-king, who pulls off at least two
+"hunts," with his spectacular equipage, each year, and it is a sight
+too; a French hunting party was ever picturesque, and if to-day not as
+practical as the more blood-loving Englishman's hunt, is at least
+traditionally sentimental, even artificial to the extent, at any rate,
+that it seems stagy, even to the inclusion of the automobiles which
+bring and carry away the participants. "Other days, other ways" never
+had a more strict application than to _la chasse a courre_ in France.
+
+Two accounts are here given of two comparatively modern figures in the
+French hunting field, which show the great store set by the sport in
+France.
+
+In the annals of the Chateau de Grosbois, belonging to-day to the Prince
+de Wagram, are the accounts of an early nineteenth century hunt, which
+shows that the game cost dear. The "Grand Veneur" of the Napoleonic
+reign was a master sportsman, indeed, and to-day, in a gallery of the
+chateau, are preserved the guns of the master, his hunting crop and
+saddle, his "colours" and his hunting horn.
+
+From the registers of the chateau, under date of December 10, 1809, the
+following, which concerned a hunting party given by the chatelain, is
+extracted verbatim.
+
+   Note of the Maitre d'Hotel for collations for the guests   8,226 francs
+
+   Illuminations                                              1,080 francs
+
+   Gratifications to the beaters                              1,000 francs
+
+   Eau de Cologne for the ladies                                 30 francs
+
+   Gun-bearers                                                  148 francs
+
+   Helpers (150)                                                600 francs
+
+   Aids (200)                                                    315 francs
+
+Another hunt was given in 1811, in honour of Napoleon, when such items
+as three thousand francs for an orchestra, a like sum for bouquets for
+the ladies, a thousand or two for bonbons and fans, and twelve thousand
+for hired furniture, etc., to say nothing of the expenses of the hunt
+itself, made the bag somewhat costly. It was not always easy for the
+master of the hunt to get justice when it came to paying for his
+supplies, and in these same records a mention of a dozen leather
+breeches at a hundred and forty francs each was crossed off and a
+marginal note, _Non_, added in the hand of Marechal Berthier, Prince de
+Wagram, himself.
+
+The chief figure in the French hunting world of to-day is another
+descendant of the Napoleonic portrait gallery, Prince Murat. At the age
+of twelve the young Prince Joachim had already followed the hounds at
+Fontainebleau and Compiegne. In his double quality of relative and
+companion of the Prince Imperial he was one of the chiefs of the
+equipment of the Imperial Hunt. To-day, though well past the span of
+life, he is as active and as enduring in his participation in the
+strenuous sport as many a younger man and his knowledge of the grand art
+of _venerie_, and his ardour for being always ahead with the hounds, is
+noted by all who may happen to see him while jaunting through the
+Foret de Compiegne, keeping well up with the traditions of his worthy
+elder, the "Premier Cavalier" of the First Empire, the King of Naples.
+
+[Illustration: _An Imperial Hunt at Fontainebleau_]
+
+He won his first stripes in the hunting field at Compiegne in 1868, at a
+hunt given in honour of the Prince de Hohenzollern and the Princesse,
+who was the sister of the King of Portugal. It was a most moving event,
+so much so that it just escaped being turned into a drama, for one of
+the ladies of the court had a leg broken, and the minister, Fould, was
+almost mortally injured. A "_dix cors_," a stag with antlers of ten
+branches, had been run down at the Rond Royal where it had taken refuge
+in a near-by copse, and after an hour's hard chase was finally cornered
+in the courtyard of some farm buildings of the Hameau d'Orillets. A
+troop of cows was entering the courtyard at the same moment, and a most
+confused melee ensued. The Inspector of Forests saved the situation and
+the cows of the farmer, and the stag fell to the carabine of Prince de
+la Moskowa, with the young Prince Murat on his pony in the very front
+rank.
+
+Thus early initiated in the chivalrous sport of the hunt the young man
+followed every hunt, big or little, which was held in the environs of
+Paris for many years, and by the time that he came to possess the
+epaulettes of an Officier de Cuirassiers he was known to all the hunts
+from the Ardennes to Anjou.
+
+For the past generation he has been retired to civil life by a
+Republican decree, and since that time has lived in his suburban Paris
+property, devoting himself to the raising of hunters. Here he lives
+almost on the borders of that great extent of forest which occupies the
+northern section of the Ile de France, occasionally organizing a hunt,
+which takes on not a little of the noble aspect of a former time, the
+prince following always within sound of the hunting horn and the baying
+of the hounds, if not actually always within sight of the quarry.
+
+It is here, in his Villa Normande, near which Saint Ouen gave Dagobert
+that famous counsel which has gone down in history, that the Prince and
+Princesse Murat come to pass two or three months each year with their
+children, their allied parents and the "great guns" of the old regime
+who still gather about the master of the hunt as courtiers gather around
+their king.
+
+At Chamblay there have been held magnificent gun shoots under the
+organization of the prince and his equipage. His kennels contain
+forty-eight of the finest bred hounds in France, and are guarded by
+three caretakers, the goader, Carl, whose fame has reached every
+hunting court of Europe and a couple of _valets des chiens_. The
+prince's colours are distributed as follows: a huzzar jacket of blue,
+with collar, plaquettes, and vest of grenadine and breeches of a darker
+blue.
+
+Formerly Prince Murat hunted the roe-deer in the valley of the Oise, but
+many enclosures of private property having made this exceedingly
+difficult in later years he is to-day obliged to go farther afield. In
+the spring the equipage goes to Rosny, near Mantes, and perhaps during
+the same season occasionally to Rambouillet.
+
+The hunts at Chamblay are the perfection of the practice of the art.
+Seldom is the quarry wanting. The refrain of the Ode to Saint Hubert
+lauds the prowess of this great "Maitre d'Equipage."
+
+   "Par Saint Hubert mon patron
+   C'est quelque due de haut renom
+        *       *       *
+   Sonnez: ecuyers et piqueux
+   Un Murat vien en ces lieux."
+
+Chamblay fortunately being neither populous nor near a great town there
+is no throng of curious spectators hovering about to get in the way and
+scare the game and the hounds and their followers out of their wits. The
+Chasse de Chamblay is the devotion of the _vrais veneurs_; the Prince
+Murat and his son, the Prince Joachim, (to-day at the military school at
+Saint Cyr), the Prince Eugene Murat, the Comte de Vallon, the Baron de
+Neuflize and a few famous _veneurs_ in gay uniforms come from afar to
+give eclat to the hunt of the master. And the ladies: the following
+names are of those devoted to the prowess of the Prince Murat--Madame la
+Princesse, la Princesse Marguerite Murat, Mademoiselle d'Elchingen, the
+Duchesse and the Marquise d'Albufera, the Duchesse de Camestra, and
+Madame Kraft.
+
+From this one sees that romance is not all smouldering. If other proof
+were wanting a perusal of that most complete and interesting account of
+the hunt in France in modern times, "_Les Chasses de Rambouillet_"
+(_Ouvrage offert par Monsieur Felix Faure_) would soon establish it.
+This was not a work destined for the public at large. The hunt was ever
+a sport of kings in France, and though France has become Republican its
+_Chasse Nationale_ at Rambouillet partakes not a little of the aspect of
+those courtly days when there was less up-to-dateness and more
+sentiment.
+
+[Illustration: _Rendezvous de Chasse, Rambouillet_]
+
+There were but one hundred copies of this work printed for the friends
+of the late president of the Republic--"Other Sovereigns," as the
+dedication reads, "Princes, Grand Dukes, Ambassadors."
+
+Rambouillet was the theatre of the most splendid hunts of the sixteenth
+century, and down through the ages it has ever held a preeminent place;
+holds it to-day even. Louis XVI in the Revolutionary torment even
+regretted the cutting off of his prerogative of the royal hunt, but he
+had no choice in the matter. In his journal of 1789 one reads: "the cerf
+runs alone in the Parc en Bas" (Rambouillet), and again in 1790: "Seance
+of the National Assembly at noon; Audience of a deputation in the
+afternoon. The deer plentiful at Gambayseuil."
+
+The Revolution felled many French institutions; low, great,
+ecclesiastical and monarchial monuments, the trees of the forest, and
+the royal game, by a system of poaching, had become greatly diminished
+in quantity.
+
+The nineteenth century, so frankly democratic in its latter years, was
+less favourable to the hunt than the monarchial days which had gone
+before. It had a considerable prominence under Charles X, more perhaps
+than it ever had under Napoleon, who in his infancy and laborious
+adolescence had few opportunities of following it; and in the later
+years of his life he was too busy.
+
+Napoleon III was not really a "good hunter," though he was something of
+a marksman and took a considerable pride in his skill in that
+accomplishment.
+
+Entering the democratic era, Jules Grevy seems to have been only a
+pot-hunter of the _bourgeoisie_, who practiced the art only because he
+wanted a jugged hare for his dinner, or again simply to kill time.
+
+Sadi-Carnot was still less a hunter of the romantic school, but assisted
+frequently at the ceremonial shootings which were arranged for visiting
+monarchs. On one occasion he was put down on the record-sheet of a hunt
+at Rambouillet as responsible only for the death of eighteen heads,
+whilst a visiting Grand Duke pulled down a hundred and fifty.
+
+It was notably during the presidency of Felix Faure that Rambouillet
+again took on its animation of former times. The chateau had been
+furbished up once more after a long sleep, and, to the great
+satisfaction of the inhabitants of the town, there were more comings and
+goings than there had been for a quarter of a century.
+
+In the summer and autumn the president made Rambouillet his preferred
+residence, and there received many visiting sovereigns and notables of
+all ranks. In one year a score of "Official Hunts" were held, to which
+all the members of the diplomatic corps were invited, while there were
+two or three affairs of an "International" character in honour of
+visiting sovereigns.
+
+All was under the control of the Grand Veneur of the Third Republic, the
+Comte de Girardin, and while a truly royal flavour may have been lacking
+the general aspect was much the same as it might have been in the days
+of the monarchy. The Captain of the Hunt under Felix Faure was the
+Inspector of Forests, Leddet, and the Premier Veneur was the Commandant
+Lagarenne.
+
+The president himself was a marksman of the first rank, and never was
+there a reckoning up of the _tableau_ but that he was near the head of
+the list. So accomplished was he with the rifle that on more than one
+occasion he was obliged to practically efface himself in favour of some
+visiting monarch, as it was said he did in the case of the King of
+Portugal in 1895, the Grand Ducs Vladimir and Nicolas in 1896.
+
+Huntsmen not royal by virtue of title, or alliance, the Republican
+president beat to a stand-still. He had no pity nor favour for a mere
+ambassador, whether he hailed from England or Germany, nor for members
+of the Institute, Senators nor Deputies. With Prince Albert of Monaco
+he held himself equal, and for every bird shot on the wing by the head
+of the house of Grimaldi the "longshoreman" of Havre brought down
+another.
+
+_La chasse a courre_ before the law in France to-day may be practiced
+only under strictly laid down conditions. The huntsman must legally have
+his dogs under such control, and keep sufficiently close to them, as to
+be able to recover the quarry immediately after it has been closed in
+upon by the hounds.
+
+Like shooting, since the Decree of 1844, hunting with hounds may only be
+undertaken under authority of a _permis de chasse_, and in open season,
+during the daytime, and with the consent of the owners over whose
+properties the hunt is to be held.
+
+The ceremony of the hunt in France now follows the traditions of the
+classic hunt of the monarchy. The _veneur_ decides on the rendezvous,
+whether the quarry be stag or chevreuil, fox or hare. The _piqueur_
+follows close up with the dogs, sets them on or calls them off, and
+recalls them if they go off on a false scent.
+
+
+
+
+CHAPTER IV
+
+THE PALAIS DE LA CITE AND TOURNELLES
+
+
+Not every one assumes the Paris Palais de Justice to ever have been the
+home of kings and queens. It has not, however, always been a tilting
+ground for lawyers and criminals, though, no doubt, when one comes to
+think of it, it is in that role that it has acted its most thrilling
+episodes.
+
+The Saint Chapelle, the Conciergerie and the great clock of the Tour de
+l'Horloge mark the Palais de Justice down in the books of most folk as
+one of the chief Paris "sights," but it was as a royal residence that it
+first came into prominence.
+
+This palace, not the conglomerate half-secular, half-religious pile of
+to-day, but an edifice of some considerable importance, existed from the
+earliest days of the Frankish invasion, and when occupied by Clotilde,
+the wife of Clovis, was known as the Palais de la Cite.
+
+Under the last of the kings of the First Race this palace took on really
+splendid proportions. When Hugues Capet arrived on the throne he
+abandoned the kingly residence formerly occupied by the Frankish rulers,
+the Palais des Thermes, and installed his goods and chattels in this
+Palais de la Cite, which his son Robert had rebuilt under the direction
+of Enguerrand de Marigny.
+
+Up to the time of Francis I it remained the preferred residence of the
+French monarchs, regardless of the grander, more luxuriously disposed
+Louvre, which had come into being.
+
+Philippe Auguste, by a contrary caprice, would transact no kingly
+business elsewhere, and it was within the walls of this palace that he
+married Denmark's daughter. His successors, Saint Louis,
+Philippe-le-Hardi, and Philippe-le-Bel did their part in enlarging and
+beautifying the structure, and Saint Louis laid the foundations of that
+peerless Gothic gem--La Saint Chapelle.
+
+From the windows of the Palais de la Cite another Charles assisted at an
+official massacre, differing little from that of Saint Bartholemew's,
+which was conducted from the Louvre.
+
+On the first floor of the Palais de Justice of to-day is the apartment
+paved in a mosaic of black and white marble, with a painted and gilded
+wooden vaulting, where Charles V received the Emperor Charles IV and the
+"Roi des Romains." The three monarchs, accompanied by their families,
+here supped together around a great round marble table, a secret supper
+prolific of an _entente cordiale_ which must have been the forerunner of
+recent ceremonies of a similar nature in France.
+
+Known as the Salle de Marbre, this great chamber came later to be the
+Tribunal where the courts sat. It was only after the death of Charles
+VI, at the beginning of the fifteenth century, that the Palais de la
+Cite was given over wholly to the disciples of Saint Yves, the judges,
+advocates and notaries. It became also the definite seat of the
+Parliament and took the nomenclature of Palais de Justice, though still
+inhabited at intermittent intervals by French royalties. One such
+notable occasion was that when Henry V of England was here married to
+Catherine de France, and when Henry VI of England took up his temporary
+residence here as king to the French.
+
+In the fourteenth century the precincts of the Palais de la Cite--the
+open courtyard one assumes is meant--were invaded by the stalls of small
+shopkeepers, some of which actually took root in wood and stone and
+became fixtures to such an extent that the courtyard was known as the
+Galerie des Merciers.
+
+The great marble chamber after becoming the meeting place of the
+Tribunal played a part at times dignified and at others banal. An
+incident is recorded where the clerks and minor court officials danced
+on the famous marble table and "played farces" with the judicial bench
+serving as a stage. It was said that, on account of the immoralities
+which they represented, the authorities were obliged to suppress the
+performances by law, as they have in recent years the flagrant freedom
+of the "Quat'z Arts."
+
+Up to the times of Francis I but few events of importance unrolled
+themselves within the Palais de la Cite, but in 1618 a violent
+conflagration broke out leaving only the round towers of the
+Conciergerie, the tower and the church, and that part of the main
+structure which housed the great Salle de Marbre, unharmed. Apropos of
+this, a joyous rhymester of the time made the following quatrain:
+
+   "Certes ce fut un triste jeu
+   Quand a Paris Dame Justice
+   Pour avoir mange trop d'epice
+   Se mit le Palais tout en feu."
+
+Jacques Debrosse was charged with rebuilding the edifice after the fire
+and refitted first the Grand Salle, to-day the famous Salle des Pas
+Perdus, crowded with the shuffling coming and going crowd of men and
+women whose business, or no business at all, brings them to this central
+point for the dissemination of legal gossip. It is a magnificent
+apartment, and, to no great extent, differs from what it was before the
+conflagration.
+
+This Salle consists of two parallel naves separated by a range of
+arcades and lighted by two great circular openings with four
+round-headed windows at either end. Its attributes are practically the
+same as they were in 1622. The structure, take it as a whole, may be
+said to date only from the seventeenth century, but certain it is that
+the old Palais de la Cite is incorporated therein, every stone of it,
+and if its career was humdrum that was the fault of circumstances rather
+than from any inherent faults of its own.
+
+The Conciergerie, that inelegant, inconsistent architectural mixture of
+the ancient and modern, considered apart, though it properly enough is
+usually considered with the Palais de Justice, was formerly the dwelling
+or guardhouse of the Concierge of the Palais de la Cite. His post was
+not merely that of the keeper of the gates; he was a personage at court
+and was as autocratic as his more plebeian contemporaries of to-day, for
+the Paris concierge, as we, who have for years lived under their
+despotism well know, is a very dreadful person.
+
+In addition to being the governor of the royal dwelling this concierge
+was the guardian of the royal prisoners. In 1348 he was further invested
+with the official title of Bailli and the post was, at times, occupied
+by the highest and the most noble in the land, among others Philippe de
+Savoie, the friend of Charles VI, and Juvenal des Oursins, the historian
+of this prince. The first to combine the two functions, that of Bailli
+and Concierge, was Jacques Coictier, the doctor of Louis XI.
+
+As a virtual prison the Conciergerie only came to be transformed when
+Charles V quitted the residence of the Palais de la Cite, and the
+Conciergerie, as such, only figures on the Tournelles registers under
+date of 1391.
+
+The fire of the latter part of the eighteenth century destroyed a large
+part of the building, but enough remained to patch together the most
+serviceable of Revolutionary prisons, for at one time it held at least
+twelve hundred poor souls, of whom two hundred and eighty-eight were
+killed off at one fell blow.
+
+But one woman among them all actually came to her death within the
+prison walls. This was La Belle Bouquetiere of the Palais Royal who, in
+an access of jealous furor, horribly mutilated a royal guardsman, and
+for this met a most cruel death by being transfixed to a post and
+submitting to a trial of "_le fer et le feu_." In just what manner the
+punishment was applied one can best imagine for himself.
+
+The Revolutionary role of the Conciergerie is a thing apart from the
+purport of this book, hence is not further referred to.
+
+Going back to the time of Francis I, among the famous prisoners of state
+were Louis de Berquin, the Comte de Mongomere, the regicides Ravaillac
+and Damiens, the Marechal d'Ancre, Cartouche, Mandrin and others.
+To-day, as a prison, the Conciergerie still performs its functions
+acceptably, safeguarding those up for the assizes, and those condemned
+to death before being sent on their long journey.
+
+The three great flanking towers of the Conciergerie are its chief
+architectural distinction to-day. That of the left, the largest, is the
+Tour d'Argent, that of the middle, the Tour Bonchet, and the third, the
+Tour de Cesar or the Tour de l'Horloge. This last is the only one which
+has preserved its mediaeval crenulated battlements aloft. The great clock
+has been commonly considered the largest timepiece of its kind extant,
+but it is doubtful if this now holds good with railways and insurance
+companies vying with each other to furnish the hour so legibly that he
+who runs may read.
+
+Across the Pont au Change, from the Palais de la Cite, by the Louvre and
+out into the Faubourg Saint Antoine, one comes to the Place des Vosges,
+the old Place Royale, which occupies almost the same area as was covered
+by the courtyard of the Palais des Tournelles, so called from its many
+towers.
+
+All around the Palais des Tournelles was located a series of splendid
+_hotels prives_ of the nobility. In one of these, the Hotel de Saint
+Pol, the king once lodged twenty-two visiting princes of the quality of
+Dauphin (the eldest son of a ruling monarch), their suites and
+domestics.
+
+Charles V in his time amalgamated with his royal palace three of these
+magnificent private dwellings, the Hotel du Petit Musc, the Hotel de
+l'Abbe de Saint Maur and the Hotel du Comte d'Etampes.
+
+The palace proper really faced on what is now the Rue Saint Antoine,
+opposite the Hotel Saint Pol. Its historic and romantic memories of the
+sword and cloak period of gallantry were many, but the edifice was
+demolished by the order of Catherine de Medici.
+
+In the palace Charles VI was confined, during the period of his
+insanity, by order of the cruel Isabeau de Baviere. The Duke of Bedford,
+when regent for the minor Henry VI, lodged here, and upon the expulsion
+of the English it became the residence of Charles VII. Louis XI and
+Louis XII each inhabited it, and the latter died within its walls.
+
+The Palais des Tournelles will go down to history chiefly because of
+that celebrated jousting bout held in its courtyard on the marriage day
+of the two princesses, Elizabeth and Marguerite.
+
+Henri II and the elder princes, his sons, were to ride forth in
+tournament and break lances, if possible, with all comers. The court,
+including Catherine de Medici and the princess Elizabeth, wife of
+Philippe II, the late husband of Mary Tudor, the two Marguerites and
+other high personages were seated on a dais upholstered in damascened
+silk and ornamented with many-coloured streamers.
+
+The time was July and the morning. At a signal from Catherine music
+burst forth and the bouts began.
+
+The king rode forth at the head of his chevaliers, wearing a suit of
+golden armour, his sword handle set with jewels, and, in spite of the
+presence of his wife, his lance flying black and white streamers, the
+colours of Diane de Poitiers, who had lately turned her affections from
+father unto son.
+
+A herald proclaimed the opening of the combat, and before night the king
+had broken the lances of the Ducs de Ferrare, de Guise, and de Nemours,
+and was just about disarming when a masked knight approached from the
+Faubourg Saint Antoine and challenged the king, who, in spite of being
+implored to desist by his queen, entered the lists again and was
+ultimately wounded unto death by the sable knight.
+
+Henri II expired the same night in a bedchamber of the Palais des
+Tournelles, whither he had been carried, at the age of forty-one, the
+victim of chance, or the wile of the Sieur de Montgomeri, the ancestor
+of England's present Earl of Eglinton. The captain of the Scotch Guards,
+Montgomeri, was not immediately pursued (he meantime had fled the
+court), but Catherine de Medici harboured for him a most bitter rancour.
+Pro and con ran his cause, for he had his partisans, but the Marechal de
+Matignon finally caught up with him in Normandy and he was tortured and
+condemned to death for the crime of _lese majeste_--beating the king at
+his own game.
+
+The widowed queen angrily ordered Diane de Poitiers from the court, and
+caused the Palais des Tournelles to be razed. This was her only means of
+showing her contempt for the woman who had played her royal spouse to
+his death as the Romans played the gladiators of old; and Tournelles, as
+a palatial monument of its time, blotted out the rest when it
+disappeared from view.
+
+A forest of spirelets soared aloft from the gables and rooftrees of the
+Palais des Tournelles. There was no spectacle of the time more imposing
+than this sky-line silhouette of a Paris palace; not at Chambord nor
+Chenonceaux was the spectacle more fine. It was like a fairy castle,
+albeit that it was in the heart of a great city.
+
+To the right of the Palais des Tournelles, beyond the Porte Saint
+Antoine, was the ink-black, frowning donjon of the Bastille, its
+severity in strong contrast with the more luxurious palaces of the
+princes which surrounded it not far away.
+
+The charming Place des Vosges, which occupies the site of Tournelles
+to-day, is another of Paris's breathing spaces. Well may it be called a
+royal garden--a park virtually on a diminutive scale--since it was
+originally known as the Place Royale, under Henri IV.
+
+With the advent of the gascon Henri de Bearn this delightful little
+unspoiled corner of old Paris took on the aspect which it now has.
+Within this enclosure were the usual garden or park attributes, more or
+less artificially disposed, but making an ideal open-air playground for
+the court, shut in from outside surroundings by the outlines of the old
+palace walls, and not too far away from the royal palace of the Louvre.
+
+The first and greatest historic souvenir of this garden was a Carrousel
+given in 1612, by Marie de Medici, two years after the tragic death of
+Henri IV, celebrating the alliance between France and Spain. Under
+Richelieu the square became known as the Place des Vosges, and, in spite
+of the law against duelling, which had by this time come into force, it
+became a celebrated meeting place for duellists like Ivry, the "Grand'
+Roue" or the "Vel' Hiver" of to-day.
+
+It was on May 12, 1627, that the Comte des Chappell killed Bussy
+d'Amboise on this spot, and left a bloody souvenir, which was only
+forgotten by the historians when they had to recount another meeting,
+this time between the Catholic Duc de Guise and the Protestant Coligny
+d'Andelot.
+
+"Monsieur," said the duke, "we will now proceed to settle that little
+account between our illustrious houses," and with that he drew his
+sword and killed Coligny, as if he were but stamping the life out of a
+caterpillar.
+
+Now, with all this bloody memory behind, the Place became one of the
+most elegant residential quarters of the capital, preferred above all by
+the nobility, the Rohans, the Alegres and Rotroux.
+
+At No. 21 lived Victor Hugo, just before the Coup d'Etat, in the house
+first made famous as the habitation of the somewhat infamous Marion
+Delorme.
+
+Among other illustrious names who have given a brilliance to these
+alleyed walks and corridors are to be recalled Corneille, Conde, Saint
+Vincent de Paul, Moliere, Turenne, Madame de Longueville, De Thou,
+Cinq-Mars, Richelieu, D'Ormesson, the Prince de Talmon, the Marquis de
+Tesse and the Comte de Chabanne.
+
+It is possible that this charming Paris square will remain as ever it
+has been, for a recent attempt of the owner of one of the houses which
+borders upon it to change the disposition of the facade brought about a
+law-suit which compelled him to respect the procedure which obtained in
+1605 when it was ordained the Place Royale.
+
+To prove their rights the civic authorities had recourse to the original
+plans still preserved in the national archives. This is a demonstration
+of how carefully European nations preserve the written records of their
+pasts.
+
+The decision finally arrived at by the courts--that the Place des Vosges
+must be kept intact as originally planned--gave joy to the hearts of all
+true Parisians and archeologists alike.
+
+[Illustration: BIRD'S EYE VIEW OF OLD PARIS]
+
+
+
+
+CHAPTER V
+
+THE OLD LOUVRE AND ITS HISTORY
+
+
+A stroll by the banks of the Seine will review much of the history of
+the capital, as much of it as was bound up with Notre Dame, the Louvre
+and the Palais de la Cite (now the Palais de Justice), and that was a
+great deal, even in mediaeval and Renaissance times.
+
+The life of the Louvre was Paris; the life of Paris that of the nation;
+and the life of the nation that of the people. This even the Parisians
+of to-day will tell you. It is scant acknowledgment of the provinces to
+be sure, but what would you? The French capital is much more the capital
+of France than London is of England, or Washington of America--leaving
+politics out of the question.
+
+Paris before the conquest by the Franks was practically only the
+Seine-surrounded isle known as Lutetia, and later as "La Cite," and the
+slight overflow which crept up the slopes of the Montagne de la Sainte
+Genevieve. From the Chatelet to the Louvre was a damp, murky swamp
+called, even in the moyen-age, Les Champeaux, meaning the Little Fields,
+but swampy ones, as inferred by studying the evolution of the name still
+further.
+
+A rapid rivulet descended from Menilmontant and mingled with the Seine
+somewhere near the Garden of the Tuileries.
+
+Clovis and his Franks attacked the city opposite the isle, and, upon the
+actual achievement of their conquest, threw up an entrenched camp on the
+approved Roman plan in what is now the courtyard of the old Louvre, and
+filled the moat with the waters of this rivulet. The ensemble was,
+according to certain authorities, baptized the Louvre, or Lower, meaning
+a fortified camp. This entrenchment was made necessary in order that the
+Franks might sustain themselves against the Gallo-Roman occupants of
+Lutetia, and in time enabled them to acquire the whole surrounding
+region for their own dominion. This the Lower, or Louvre, made possible,
+and it is well deserved that its name should be thus perpetuated, though
+actually the origin of the name is in debate, as will be seen by a
+further explanation which follows.
+
+Little by little this half-barbaric camp--in contradistinction to the
+more solid works of the Romans--became a _placefort_, then a chateau,
+then a palace and, finally, as the young lady tourist said, an art
+museum. Well, at any rate, it was a dignified evolution.
+
+Two Louvres disappeared before the crystallization of the present rather
+irregularly cut gem. From the Merovingians dates the Louvre des Champs,
+the hostile, militant Louvre, with its high wood and stone tower,
+familiar only in old engravings. After this the moyen-age Louvre,
+attributable to Saint Louis and Charles V, with its great tower, its
+thick walls of stone and its deep-dug moats, came into being. With
+Francis I came a more sympathetic, a more subtle era of architectural
+display, a softening of outlines and an interpolation of flowering
+gables. It was thus that was born that noble monument known as the New
+Louvre, which combined all the arts and graces of a fastidious ambition.
+
+Nothing remains of the old Louverie (to which the name had become
+corrupted) which Philippe Auguste early in the thirteenth century caused
+to be turned into an ambitious quadrangular castle from a somewhat more
+humble establishment which had evolved itself on the site of the
+Frankish camp, save the white marble outline sunken in the pavement of
+the courtyard of the palace of to-day. By destiny this palace, set down
+in the very heart of Paris, was to dominate everything round about.
+From the date of its birth, and since that time, it has had no rivals
+among Paris or suburban palaces. Its very situation compelled the
+playing of an auspicious part, and the Seine flowing swiftly by its
+ramparts added no small charm to the fetes and ceremonies of both the
+Louvre and the Tuileries.
+
+Never was a great river so allied with the life of a royal capital;
+never a stream so in harmony with other civic beauties as is the Seine
+with Paris. When Henri II entered Paris after his Sacrament he
+contemplated a water-festival on the Seine, which was to extend from the
+walls of the Louvre to the towers of Notre Dame, a festival with such
+elaborate decorations as had never been known in the French capital.
+
+The kings of France after their Sacrament entered the Louvre by the
+quay-side entrance, followed by their cortege of gayly caparisoned
+cavaliers and gilded coaches with personages of all ranks in doublet and
+robe, cape and doublet. The scintillating of gold lace and burnished
+coats gave a brilliance which rivalled that of the sun.
+
+No sooner had the cavalcade entered the gates of the Louvre than it came
+out again to participate in the day and night festival, which had the
+bosom of the Seine for its stage and its bridges and banks for the act
+drop and the wings.
+
+The receptions of Ambassadors, the baptisms of royalties, royal
+marriages and celebrations of victories, or treaties, were all feted in
+the same manner.
+
+Napoleon glorified the Peace of Amiens under similar conditions, and
+there is scarce a chronicler of any reign but that recounts the part
+played by the Seine in the ceremonies of the court of the New and Old
+Louvre.
+
+It was amid a setting which lent itself so readily to all this that the
+Old Louvre, which was rebuilt by Francis I, first came to its glory.
+
+The origin of the name Louvre has still other interpretation from that
+previously given. It seems to be a question of grave doubt among the
+savants, but because the note is an interesting one it is here
+reproduced. The name may have been derived as well from the word
+_oeuvre_, from the Latin _opus_; it may have been evolved from
+_lupara_, or _louverie_ (place of wolves), which seems improbable. It
+may have had its evolution from either one of these origins, or it may
+not.
+
+Anglo-Saxons may be proud of the fact that certain French savants have
+acknowledged that the name of the most celebrated of all Paris palaces
+is a derivation from a word belonging to their tongue and meaning
+habitation. This, then, is another version and one may choose that which
+is most to his liking, or may go back and show his preference for
+_lower_, meaning a fortified place.
+
+A palace--something more elaborate than a mere habitation--stood on the
+same site in the twelfth century, a work which, under the energies of
+Philippe Auguste, in 1204 began to grow to still more splendid
+proportions, though infinitesimal one may well conclude as compared with
+the mass which all Paris knows to-day under the inclusive appellation of
+"The Louvre."
+
+The Paris of Philippe Auguste was already a city of a hundred and twenty
+thousand inhabitants, with mean houses on every side and little pretense
+at even primitive comforts or conveniences. This far-seeing monarch laid
+hand first on the great citadel tower of the fortified _lower_, added to
+its flanking walls and built a circling rampart around the capital
+itself. It is recounted that the rumbling carts, sinking deep in mud and
+plowing through foot-deep dust beneath the palace windows, annoyed the
+monarch so much that he instituted what must have been the first city
+paving work on record, and commanded that all the chief thoroughfares
+passing near the Louvre should be paved with cobbles. This was real
+municipal improvement. He was a Solon among his kind for, since that
+day, it has been a _sine qua non_ that for the well-keeping of city
+streets they must be paved, and, though cobblestones have since gone out
+of fashion, it was this monarch who first showed us how to do it.
+
+The Louvre of Philippe Auguste was the most imposing edifice of the
+Paris of its time. To no little extent was this imposing outline due to
+its great central tower, the _maitresse_, which was surrounded by
+twenty-three _dames d'honneur_, without counting numberless _tourelles_.
+This hydra-towered giant palace was the real guardian of the Paris of
+mediaevalism, as its successor is indeed the real centre of the Paris of
+to-day.
+
+The city was but an immense mass of low-lying gable-roofed houses, whose
+crowning apex was the sky-line of the Louvre, with that of Tournelles
+only less prominent to the north, and that of La Cite hard by on the
+island where the Palais de Justice and Notre Dame now stand.
+
+Before the hand of Francis fell upon the Louvre it was but an isolated
+stronghold--a combined castle, prison and palace, gloomy, foreboding and
+surrounded by moats and ramparts almost impassable. Philippe Auguste
+built well and made of it an admirable and imposing castle and a place
+of defence, and a defence it was, and not much more.
+
+For its time it was of great proportions and of an ideal situation from
+a strategic point of view; far more so than the isolated Palais de la
+Cite in the middle of the Seine.
+
+Four gates led out from the inner courtyard of the Old Louvre: one to
+the Seine; one to the south, facing Saint Germain l'Auxerrois; another
+towards the site of the later Tuileries; and the other to about where
+the Rue Marengo cuts the Rue de Rivoli of to-day.
+
+With the endorsement given it by Philippe Auguste the Louvre now became
+the official residence of the kings of the Capetian race, whereas
+previously they had dwelt but intermittently at Paris, chiefly in the
+Palais de la Cite.
+
+The monarch, as if to test the efficiency of his new residence as a
+stronghold, made a dungeon tower, his greatest constructive achievement
+until he built the castle of Gisors, and in the tower imprisoned the
+Comte de Flandre, whom he had taken prisoner at Bouvines. Louis IX
+(Saint Louis), in his turn, built a spacious annex to Philippe Auguste's
+Louvre, to which he attached his name.
+
+[Illustration: THE XIV CENTURY LOUVRE]
+
+
+Charles V totally changed the aspect of the palace from what it had
+formerly been--half-fortress, half-residence--and made of it a veritable
+palace in truth as well as in name, by the addition of numerous
+dependencies.
+
+Within a tower which was built during the reign of this monarch, called
+the Tour de la Librairie, he assembled his royal bibelots and founded
+what was afterwards known as the Bibliotheque du Louvre, the egg from
+which was hatched the present magnificently endowed _Bibliotheque
+Nationale_ in the Rue Richelieu.
+
+It is related that in 1373 the valet-de-chambre of Charles V made a
+catalogue of the nine hundred and ten volumes which formed this
+collection, an immense number for the time when it is known that his
+predecessor, Jean-le-Bon, possessed but seven volumes of history and
+four devotional books as his entire literary treasure.
+
+This seems to be a bibliographical note of interest which has hitherto
+been overlooked. Charles V was evidently a man of taste, or he would not
+have built so well, though all is hearsay, as not a fragment remains of
+the work upon which he spent his talents and energies.
+
+From the death of Charles V, in 1364, until 1557 the Louvre by some
+caprice ceased to be a permanent royal residence. At the latter epoch
+the ambitious, art-loving Francis I conceived the idea that here was a
+wealth of scaffolding upon which to graft some of his Renaissance
+luxuries and, by a process of "restoration" (perhaps an unfortunate word
+for him to have employed, since it meant the razing of the fine tower
+built by Charles V), added somewhat to the splendours thereof, though in
+a fickle moment, as was his wont, allowed a gap of a dozen years to
+intervene between the outlining of his project and the terrifically
+earnest work which finally resulted in the magnificent structure
+accredited to him, though indeed it meant the demolition of the original
+edifice.
+
+It was at this period that Charles V entered into the ambitious part
+which Francis was to henceforth play in the Louvre, so perhaps the
+interruption was pardonable.
+
+
+
+
+CHAPTER VI
+
+THE LOUVRE OF FRANCIS I AND ITS SUCCESSORS
+
+
+One can attribute the demise of the Old Louvre to the coming of Charles
+V to Paris in 1539. This royal residence, hastily put in order to
+receive his august presence, seemed so coldly inconvenient and
+inhospitable to his host, Francis I, that that monarch decided forthwith
+upon its complete reconstruction and enlargement. Owing to various
+combinations of circumstances the actual work of reconstruction was put
+off until 1546, thus the New Louvre as properly belongs to the reign of
+Henri II as to that of his father.
+
+Francis I, more than any other European monarch of his time, or, indeed,
+before or since, left his mark as an architect of supreme tastes over
+every edifice with which he came into personal contact. His mania was
+for building--when it was not for affairs of the heart--and so daring
+was he that when he could not get an old fabric to remodel he would
+brave all, as did Louis XIV at Versailles, and erect a dream palace in
+the midst of a desert. This he did at Chambord in the Sologne. At Paris
+his difficulties were perhaps no less, but he had his materials and his
+workmen ready at hand.
+
+Francis's repairs and embellishments to the Old Louvre were by no means
+perfunctory, but he saw possibilities greater than he was able to
+perform with the means at hand. He first razed the central tower, or
+_donjon_, and scarce before the departure of his royal guest, was
+already dreaming of replacing the entire fabric with another which
+should bear the same name. One has read of the monarch's thoughts when
+he was awaiting the coming to Paris of his old enemy in the peninsula;
+how he regretted the moment when he should sally out to meet him and
+leave his new-found friend, the Duchesse d'Etampes, in spite of her
+pleadings for him to remain by her. All this is mere historic incident,
+and has little to do with Francis's art instincts and ambitions. He
+probably thought this very thing himself when he replied to the
+importunate lady: "Duchesse, I must tear myself away without more ado; I
+go to meet my brother monarch at Amboise on the Loire."
+
+It was Francis I, the passionate lover of art, who collected the first
+pictures which formed the foundation of the present collections of the
+Musee National du Louvre. He bought many in foreign parts, and many
+others were brought from Italy by Italian artists, whom he had commanded
+to the capital: Primaticcio brought with him, upon his arrival, more
+than a hundred antique statues. These art objects were first assembled
+at Fontainebleau and ornamented the apartments of the king. Among them
+were Da Vinci's "La Joconde" and Raphael's "Holy Family and Saint
+Michael."
+
+Henri II, Henri IV, and Louis XIII did little to enrich the art
+collections of the palace, but Louis XIV charged his minister, Colbert,
+with numerous purchases. In 1661 he bought the fine collection left by
+Cardinal Mazarin, and ten years later purchased the contents of the
+celebrated gallery belonging to the banker Jacob of Cologne. The state
+expended for these acquisitions nearly six hundred thousand _livres_,
+and received for this sum six hundred paintings and six thousand
+drawings.
+
+It was at this period that the royal collections were transferred to
+Paris, a little before the death of Colbert, when they were placed in
+the galleries of the Louvre; though it was a hundred years later that a
+national museum was actually created. This was virtually brought about
+from the fact that the royal collections were transported in a great
+part to Versailles, only to be returned to Paris in 1750, transferred
+again to Versailles, and ultimately to be returned to Paris under the
+sheltering wing of the grand old Louvre.
+
+The Museum of the Louvre, the Museum National et Central des Arts, is
+the outgrowth of a Decree of the Convention, dated July 27, 1793. It was
+aided and enriched considerably under Napoleon I, that passionate lover
+of the beautiful, who, none too scrupulously, would even seek to "make a
+campaign" in order to acquire art works for the museum of his capital.
+
+Many of these abducted art treasures (like the horses of Saint Marc, for
+instance) were afterwards returned to their original owners, but the
+nucleus of this unrivaled art museum was chiefly due to the consul and
+emperor.
+
+As soon as Charles V had left the Louvre demolition was at once begun by
+Francis, and in 1541 an Italian, Serlio, was bidden prepare a set of
+plans for the Renaissance glory that was to be. Serlio, refusing, or
+debating the price, was cast aside for the Frenchman, Lescot, whose plan
+was adopted.
+
+The work can in no way be said to have suffered by the change of plans,
+for though Pierre Lescot was as yet a name unknown in the world of
+architecture his talents were sufficiently great, magistrate and
+parliamentary counsellor though he was, to give to Paris what has ever
+been accounted its chief Renaissance glory.
+
+Work was begun at once, a work which was not interrupted by intrigues of
+court, of love, of war, nor by the deaths of Francis I nor his
+successor, Henri II.
+
+Although the work was begun in an energetic manner it was 1555 before
+the western wing was ready for the hand of the sculptors, but from this
+time on, judging from the interpolated monograms of Charles IX and Henri
+IV on the south wing, work progressed less hurriedly. The two other
+constructions, which were to enclose the quadrangle to the north and
+east, were completed under such circumstances that there has never been
+a question as to their period.
+
+For fifteen years the work went on, when suddenly it was abandoned as
+were the plans of Lescot. A sole wing, that following the Seine and
+abutting at right angles against the Pavilion de l'Horloge, had
+resulted.
+
+The sculptures of its south facade, as well as certain of its interior
+decorations, were entrusted to Jean Goujon (1520-1572), who became a
+victim of the horrible night of Saint Bartholomew, planned in the same
+Louvre by the wily Medici.
+
+Henri II often dwelt over Lescot's plans and devices, and, on one
+occasion, when the poet Ronsard was present, demanded of the architect
+the meaning of the decorations surrounding a great _oeil-de-boeuf_
+window, two kneeling figures, one blowing a trumpet, and the other
+extending a palm branch. "Victory and Fame," replied Lescot. And, in
+honour of the architect and his sentiment, Ronsard composed his
+"Franciade." The detail was actually by Goujon, whose design it was,
+under the oversight of the master architect. One may see this _chef
+d'oeuvre_ to-day just above the courtyard portal to the west.
+
+At the death of Henri II, Catherine de Medici came here to live alone,
+and built the great extension, which stands to-day and joins the Old
+Louvre with that portion along the banks of the Seine by the double
+arch, through which swing the autobusses coming from the Rive Gauche
+with such a Juggernaut grind that fears for the foundation of the palace
+are ever uppermost in the minds of those responsible for its
+preservation.
+
+[Illustration: _The Louvre_]
+
+It is in this Catherine de Medici portion of the Louvre (1578) that the
+present Galerie des Antiques is installed, and which is usually
+thronged, in season and out, with globe-trotting sight-seers who give
+seldom a thought to its constructive elegance and its association with
+the Medici.
+
+With the first years of the reign of Charles IX, there is to be remarked
+a notable slowness of procedure with regard to the construction of the
+New Louvre. This was brought about chiefly by the conception of the
+Tuileries and the work which was actually begun thereon. Soon a gigantic
+idea radiated from the ambitious mind of Catherine de Medici. In this
+connection it must be remembered, however, that Catherine, so commonly
+reviled as "the Italian," was not all Italian; French blood flowed
+through her veins through that of her mother, Madeleine de la Tour
+d'Auvergne. She came first to France, landing at Marseilles, whence she
+arrived from Leghorn, and forthwith commenced her journey Parisward,
+arriving finally at the Louvre as the bride of Prince Henri in the guise
+of a simple, clever girl, though indeed she was twenty years the elder.
+
+Now she dreamed of uniting her chateau of the Tuileries with that of the
+king by a long, connecting gallery. She put action to the thought and
+under Pierre (II) Chambiges, a relative of the Chambiges of
+Fontainebleau and Saint Germain, the Petite Galerie, a mere means of
+communication between the two chateaux, and not the least to be likened
+to a defensive structure, was begun and work thereon carried out between
+1564 and 1571, though it remained for Thibaut Metezeau, in 1595-1596, to
+carry it on a stage further under Henri IV.
+
+This architect introduced the notorious mezzanine, which has so
+intrigued historians of the Louvre because of the unequal elevations of
+the various floors, a procedure which was unavoidable save by recourse
+to a substitution less to be objected to than the existing fault.
+Actually the connection with the Tuileries was made by the prolongation
+of this gallery by the Ducerceau brothers in 1595. The work existing
+to-day, but only in its reconstructed form, is the same as that
+completed by Napoleon III (1863-1868).
+
+Charles IX and Henri III, though making the Louvre their residence,
+practically had no hand in its embellishment. The former gave his
+energies and ideals full play in the Saint Bartholomew massacres and
+shot at poor unfortunates who fled beneath the windows of his apartments
+on the quay-side of the Louvre. This, if not the chief incident of his
+association with the fabric, is at least the best remembered one. Henri
+III, too, led a scandalous life within the walls of the Louvre and fled
+on horseback, smuggled out a back door, as it were, on a certain May
+evening in 1588, never more to return, for the Dominican monk Jacques
+Clement killed him with a knife-thrust before he had got beyond Saint
+Cloud.
+
+The accepted tale of the part played by the famous window of the Louvre
+in the drama of Saint Bartholomew's night is as follows: As the signal
+tolled from the belfry of Saint Germain l'Auxerrois it was answered by
+another peal from the great bell of the Palais de Justice, where, within
+a small apartment over the watergate of the Louvre, the queen and her
+two sons were huddled together not knowing what might happen next. The
+multitude streamed by on the quay before the palace, and, finally, amid
+all the horror of Coligny's murder, and the throwing of his body from a
+window of the Louvre to the street below, Charles IX stood at his window
+regarding the fleeing Huguenots as so much small game, shooting away at
+them with an arquebuse as they went by, and with an unholy glee, even
+boasting that he had killed a score of heretics in a quarter of an hour.
+
+Historians of those exciting times were perhaps none too faithful
+chroniclers and Charles's "excellent shots" in his "royal hunt," and
+hideous oaths and threats such as: "We'll have them all, even the women
+and children," are not details as well authenticated as we would like to
+have them. Like Rizzio's blood stains they lack conviction.
+
+The ambitious white-plumed Henri de Navarre, when he became Henri IV of
+France, set about to connect the tentacle which stretched southward from
+the Old Louvre with the Tuileries (a continuation of the project of
+Catherine de Medici), and, by the end of the sixteenth century, had
+built a long facade under the advice of the brothers Ducerceau. This
+work was added to on the courtyard side under the Second Empire, when a
+reconstruction, more likely a strengthening of underpinning and walls
+because of their proximity to the swift-flowing waters of the Seine, of
+the work of Henri IV was undertaken.
+
+Joining the Tuileries and this work of Ducerceau was the celebrated
+Pavilion de Flore, a work of the Henri IV period rather than that of
+Catherine de Medici.
+
+From the Pavilion de Flore to the Pavilion de Lesdiguieres ran this long
+gallery of the Ducerceau and numerous interstices and unfinished vaults
+and arches leading towards the Old Louvre were, at this epoch, completed
+by Metezeau and Dupaira. The chief apartment of this structure became
+known as the _Galerie Henri IV_, and was completed in 1608.
+
+At the death of Henri IV, Richelieu, who at times builded so well, and
+who at others was a base destroyer of monuments, demolished that portion
+which remained of the edifice of Charles V. The work of Pierre Lescot
+was preserved, however, and to give symmetry and an additional extent of
+available space the rectangle facing Saint Germain l'Auxerrois to-day
+was completed, thus enclosing in one corner of its ample courtyard the
+foundations of the earlier work whose outlines are plainly traced in the
+pavement that those who view may build anew--if they can--the old
+structure of Philippe Auguste. In mere magnitude the present quadrangle
+is something more than four times the extent of the Louvre of the time
+of Charles V.
+
+This courtyard of the Louvre is perhaps that spot in all Paris which
+presents the greatest array of Renaissance art treasures. From ground to
+sky-line the facades are embroidered by the works from the magic hand of
+the _Siecle Italien_. Jean Goujon himself has left his brilliant
+souvenirs on all sides, caryatides, festoons, bas-reliefs, statues and
+colonnades.
+
+Enthusiasm and devotion knew no bounds among those old craftsmen, but
+all is well-ordered, regular and correct. "He who mentions the Louvre to
+a Frenchman gives a greater pleasure than that of Mehemet-Ali when one
+praises the pyramids." In a way the Louvre is the most magnificent
+edifice in the universe; "four palaces one piled up on another, _une
+ville entiere_." And when the Louvre was linked with the Tuileries in
+the real, what a splendour it must have been for former generations to
+marvel at! "_La plus belle et la plus grande chose sous le soleil._"
+
+This work of aggrandizement of the quadrangle was carried out by the
+architect Lemercier on the basis of a project adopted in 1642, and, to a
+great extent, completed before the arrival of Anne d'Autriche, twenty
+years later.
+
+This queenly personage had ideas of her own as to what sort of a
+residence she would have in Paris, and beyond her personal needs little
+was done for the moment towards actually linking up the various loose
+ends, each more or less complete in itself, which now composed the Paris
+palace of the French monarchs.
+
+Her son, the king in person if not in power, was not likely to be
+endowed with instincts which would put him in the rank of the
+traditional castle or palace builders of his race; it was literature,
+music and painting which more particularly flourished during his reign,
+and so the Austrian contented herself at first with merely putting the
+former apartments of Catherine de Medici into condition for her personal
+use and building a Salle-de-Spectacle, and--happy thought--a
+Salle-des-Bains.
+
+Louis XIV, as he found time, after the war of the Fronde, actually did
+bethink himself of completing, in a way, the work of his elders, and
+charged the architect Levau to finish off the north wing, which was done
+in 1660. A year later the Galerie Henri IV was practically destroyed by
+fire and rebuilt by Levau, who gave the commission for its interior
+decoration to Lebrun.
+
+Soon the south wing was completed, leaving only the gap for the eastern
+facade which was intended to be the chief entrance to the mass of
+buildings, which still bore the comprehensive name of "The Louvre."
+
+For the accomplishment of this facade, the demolition of certain
+dwellings of the nobility which had clustered around the royal fabric
+was necessary, and the Hotels du Petit Bourbon, de Villequier, de
+Chaumont, La Force, De Crequy, de Longueville, and de Choisy fell before
+the picks of the house-breakers. Levau commenced work on the facade at
+once, and made rapid progress until 1664, when an abrupt order came for
+him to stop all work. Political conspiracy, graft, if you like, was at
+work, and Colbert, little favourable towards Levau, made a proposition
+to the king to open a competition for the design and execution of the
+facade. Willingly enough, his mind doubtless more occupied with other
+things, Louis XIV agreed, and a general call was sent out to all French
+architects to enter the lists. Confusion reigned, and Levau was about to
+be recalled when Colbert spied an unrolled parchment in the corner and
+pounced upon it eagerly as the means of saving him from the dubious
+efforts of the former incumbent.
+
+It was the "non-professional" plan submitted by a doctor in medicine,
+one Charles Perrault. Jealous competitors made all sorts of criticisms
+and objections, the chief contention being that if by any chance an
+architectural design by a "pill-roller" proved pleasing to the eye it
+was bound to be impracticable from an economic or constructive point of
+view, or both. This is often enough true, and it proved to be so in this
+case, for in spite of a certain amount of advice from an expert Italian
+builder, who had come to Paris to help the good doctor with his
+difficult task (for he actually received a commission for the work and
+completed it in 1674), the facade did not fit the rest of the fabric
+with which it was intended to join up, and to-day it may be observed by
+the curious as being several feet out of line with the structure which
+faces on the Rue de Rivoli.
+
+Louis XIV practically had no regard for the Louvre and its architectural
+traditions; his palatial garden-city idea, worked out at Versailles,
+shows what an innovator he was. He allowed the Louvre to be filled up
+with all sorts of riffraff, who were often given a lodging there in
+place of a money payment for some service rendered. The Louvre thus
+became a sort of genteel poor-house, while king and court spent their
+time in the more ample country-house behind the Meudon hills.
+
+By 1750 the Louvre had become little more than an immense ruin, humbled
+and desecrated; a veritable orphan. The Marquis de Marigny, Surintendant
+des Batiments Royaux, obtained the authorization to chase out the
+parasites and clean up the Augean stable and put things in order as best
+pleased his esthetic fancy, but only with the early years of the
+nineteenth century did the Louvre become a real palace again and worthy
+of its traditions.
+
+From 1803 to 1813 the architects Fontaine and Percier were constantly
+engaged in the work of repairs and additions, and built (for Napoleon I)
+the gallery which extends from what is now the Place Jeanne d'Arc to the
+Pavillon de Rohan, along the Rue de Rivoli. This detached portion (bound
+only to the Tuileries) was finally joined to the seventeenth century
+work of Lemercier under Louis Napoleon in 1852. This gallery, the work
+of "moderns," is no mean example of palace-building, either. It was the
+work of Visconti and Lefuel, and with the adoption of this plan was
+finally accomplished the interpolation of that range of pavilions which
+gives the architecture of the Louvre one of its principal distinctions.
+Named after the principal ministers of former administrations--Donon,
+Mollien, Daru, Richelieu, Colbert, Turgot, etc., these pavilions break
+up what would otherwise be monotonous, elongated facades.
+
+The inauguration of this last built portion of the palace was held on
+August 14, 1857, the occasion being celebrated by a banquet given by
+Napoleon III to all the architects, artists and labourers who had been
+engaged upon the work. In the same Salle, two years later, which took
+the name of Salle des Etats, the emperor gave a _diner de gala_ to the
+generals returning from the Italian campaign.
+
+Still further resume of fact with regard to the main body of the Louvre,
+as well as with respect to its individual components, will open
+never-ending vistas and pageants. It is not possible in a chapter, a
+book or a five-foot shelf to limn all that is even of cursory interest.
+The well-known, the little-known and the comparatively unknown mingle in
+varying proportions, according to the individual mood or attitude. To
+some the appeal will lie in the vastness of the fabric, to others in the
+varied casts of characters which have played upon its stage, still
+others will be impressed with the dramatic incidents, and many more will
+retain only present-day memories of what they have themselves seen. The
+Louvre is a study of a lifetime.
+
+To resume a none too complete chronology, it is easy to recall the
+following important events which have taken place in the Louvre since
+the days of Henri III, the period at which only the barest beginnings of
+the present structure had been projected.
+
+In 1591 a ghastly procedure took place when four members of the Conseil
+des Seize were hung in the Salle des Caryatides by orders of the Duc de
+Mayenne.
+
+Like the horoscope which foretold the death of Henri III, another royal
+prophecy was cast in 1610 that reminds one of that which perhaps had
+not a little to do with the making away with the last of the Valois
+princes.
+
+The Duc de Vendome, the son of Henri IV by Gabrielle d'Estrees, handed
+the king a documentary horoscope signed by an astrologer calling himself
+La Brosse, which warned the king that he would run a great danger on May
+14 in case he went abroad.
+
+"La Brosse is an ass," cried the king, and crumpled the paper beneath
+his feet.
+
+On the day in question the king started out to visit his minister,
+Sully, at the Arsenal. It was then in turning from the Rue Saint Honore
+into the Rue de la Ferroniere that the royal coach, frequently blocked
+by crowds, offered the opportunity to the assassin Ravaillac, who,
+jumping upon the footboard, stabbed the king twice in the breast.
+
+After having been wounded the king was brought dying to the Louvre. His
+royal coach drew up beneath the vault through which throngs all Paris
+to-day searching for a "short cut" from the river to Saint Honore. It
+was but a short, brief journey to the royal apartments above in the
+Pavilion de l'Horloge, but it must have been an interminable calvary to
+the gallant Henri de Navarre. The body was received by Marie de Medici
+in tears, and the Ducs de Guise and d'Epernon clattered out the
+courtyard on horseback to spread the false news that the king had
+suffered no harm. Fearing the results of too precipitate publishing of
+the disaster no other course was open.
+
+A gruesome memory is that the Swiss Guard at the Louvre surreptitiously
+acquired a "_quartier_" of the dismembered body of the regicide and
+roasted it in a fire set alight beneath the balcony of Marie de Medici
+as an indication of their faithfulness and loyalty.
+
+It was Sully, the king's minister, who ran first up the stairs to
+acquaint the queen of the tragedy--faithful ever to the interests of his
+royal master. In spite of this, one of the first acts of Marie de Medici
+as regent was to drive the Baron de Rosny and Duc de Sully away. Such is
+virtue's reward--sometimes.
+
+       *       *       *       *       *
+
+"Lying on his bed, his face uncovered, clad in white satin and a bonnet
+of red velvet embroidered with gold, was all that remained of Henri IV
+of France and Navarre. Around the bed were nuns and monks from all the
+monasteries of Paris to keep vigil of his soul."
+
+So ends the chronicle closing the chapter of the relations of Henri IV
+with his Paris palace.
+
+No particularly tragic event took place here for some years. Henriette
+de France, widow of Charles I of England, taking refuge in France from
+the troublous revolt at home, lived in the Louvre in 1644. She had at
+first been graciously received by Mazarin, but was finally accorded only
+the most strict necessities of life, a mere lodging in the Louvre, a
+modest budget and a restricted entourage.
+
+In 1662, under Louis XIV, Moliere and his troup, in a theatre installed
+in the Salle des Caryatides, gave the first "command" performance on
+record. The plays produced were, "Nicodeme" and "Le Docteur Amoureux."
+
+An "art note" of interest is that Sylvain Bailly, the first curator of
+the Musee du Louvre, was born within its precincts in 1736.
+
+In the dark days of July, 1830, the populace attempted to pillage and
+sack the palace, but after a bloody reprisal retired, leaving hundreds
+of dead on the field. The _parterre_ beneath the famous colonnade was
+their burial place, though a decade later the bodies were exhumed and
+again interred under the Colonne de Juillet in the Place de la Bastille.
+
+Le Notre, the gardener of kings, laid out the first horticultural
+embellishments of the palace surroundings under Louis XIV, and with
+little change his scheme of decoration lasted until the time of Louis
+Philippe, who made away with much that was distinctive and excellent.
+
+Napoleon III came to the front with an improved decorative scheme, but
+the hard flags of to-day, the dusty gravel and the too sparse
+architectural embellishments do not mark the gardens of the Louvre as
+being anything remarkable save as a desirable breathing spot for Paris
+nursemaids and their charges.
+
+The iron gates of the north, south and east sides were put into place
+only in 1855, and at the Commune served their purpose fairly well in
+holding the rabble at bay, a rabble to whose credit is the fact that it
+respected the artistic inheritance enclosed by the Louvre's walls. No
+work of art in the museums was stolen or destroyed, though the library
+disappeared.
+
+
+
+
+CHAPTER VII
+
+THE TUILERIES AND ITS GARDENS
+
+
+[Illustration: ORIGINAL PLAN of the TUILERIES]
+
+No more sentimental interest ever attached itself to a royal French
+palace than that which surrounded the Tuileries from its inception by
+Charles IX in the mid-sixteenth century to its extinction by the Commune
+in 1871.
+
+The Palace of the Tuileries is no more, the Commune did for it as it did
+for the Hotel de Ville and many another noble monument of the capital,
+and all that remains are the gardens set about with a few marble
+columns and gilt balls--themselves fragments of former decorative
+elements of the palace--to suggest what once was the heritage bequeathed
+the French by the Medici who was the queen of Saint Bartholomew's night.
+
+It was a palace of giddy gayety that drew its devotees to it only to
+destroy them. "Crowned fools who wished to be called kings, and others."
+Even its stones were chiselled as if with a certain malignancy and
+fatalism, for they have all disappeared, and their history, even, has
+not been written as large as that of those of many contemporary
+structures.
+
+Of the last five kings to which the Tuileries gave shelter--not counting
+the Second Emperor--only one went straightway to the tomb; one went to
+the scaffold and three others to exile. A sorry dowry, this, for an
+inheritor of a palace at once so noble and admirable in spite of its
+unluckiness.
+
+With the court followers and the nobility of the last days of the
+monarchy it was the same thing; the Tuileries was but a temporary
+shelter. The scaffold accounted for many and banishment engulfed others
+to forgetfulness.
+
+It was a commonplace at the time to repeat the warning: "O! Tuileries!
+O! Tuileries! Mad indeed are those who enter thy walls, for like Louis
+XVI, Napoleon, Charles X and Louis Philippe you shall make your exit by
+another door."
+
+The origin of the name Tuileries is somewhat ignominiously traced from
+that of a tile factory which existed here in the heart of Paris, on the
+banks of the Seine, in the sixteenth century. The property, which
+comprised a manor-house as well as the tile fields, was known by the
+name of La Sablonniere, and came to the Marquis Neuville de Villeroy,
+Superintendent of Finances, who built on the spot a sort of fortified
+chateau, which, if not of palatial dimensions, was of a palatial
+prodigality of luxury.
+
+Louise de Savoie, mother of Francis I, acquired the property in 1518 and
+nine years later gave it to Jean Tiercelin, the Maitre d'Hotel of the
+dauphin, who later was to become Henri II.
+
+The lodge, or manor-house, had, by 1564, fallen into so ruinous a state
+that Catherine de Medici, the widow of Henri II, set about to lay the
+foundations of a new royal palace.
+
+Catherine never resided in her projected palace, and in 1566 Charles IX,
+her son, gave the commission to Philibert Delorme to build a palace,
+"neighbouring upon the Louvre, but not to be connected therewith, on the
+site of the Tuileries."
+
+On July 11, work was begun, and the central pavilion and the two
+extremes were carried up two stories within a year. The central
+structure was a great circular-domed edifice, enclosing a marvellous
+Escalier d'Honneur. The facade, preceded by two terraced porticos, was
+on the courtyard, or garden, between the edifice and the Louvre. It sat
+back to the present Rue des Tuileries.
+
+The Tuileries did not become a royal residence for some time after its
+completion, for Charles IX clung tenaciously to his well-guarded
+apartments in the Louvre; for the central structure of the Tuileries,
+because of its lack of comparative height, was hardly as much of a
+stronghold as he would have liked.
+
+A contemporary note in connection with Charles IX and the Tuileries is
+found in Ronsard's "_Epitre a Charles IX_."
+
+   "J'ay veu trop de macons
+   Bastir les Tuileries,
+   Et en trop de facons
+   Faire les momeries."
+
+Work on the edifice so auspiciously planned by Delorme was practically
+discontinued during the reign of Henri III, owing to lack of funds.
+
+The Renaissance of Delorme, Bullant, Lescot, each of whom had a hand in
+the building of the Tuileries, expressed certain characteristic phases
+of architectural art in the reigns of Francis I and Henri II. The reign
+of Charles IX was only another phase of that long reign of Catherine de
+Medici, and architectural influences continued to follow along the same
+reminiscent Italian lines, particularly with reference to such edifices
+as the Medici herself caused to be built. In the dedication of Philibert
+Delorme's "_Traite d'Architecture_" he expressed himself thus with
+regard to the Tuileries:
+
+"Madame, I see from day to day with an increasing pleasure the interest
+that your Majesty takes in architecture. The palace which you have built
+at Paris near the Pont Neuf and the Louvre is, according to its
+disposition, excellent and admirable to the extent that it pleases me
+beyond measure."
+
+After Delorme considerable changes were made and successfully carried
+out under the architects Ducerceau, Duperac, Levau and Dorbay.
+
+A distinct feature of the work of Delorme was his use of the column
+ornamented throughout its length, which, as he says in his written
+works, he first employed in the "_Palais de la Majeste de la Royne-Mere
+a Paris_."
+
+Of the ability of Delorme there is no diversity of opinion to-day, nor
+was there in his time. Besides the Tuileries he has to his credit the
+Chateau d'Anet, the Chateau de Saint Maur, that of Meudon--built for the
+Cardinal de Lorraine,--and his important additions to the Chateau de la
+Muette and the Chateaux of Saint Germain, Madrid and Fontainebleau.
+
+As might be supposed Catherine de Medici professed a great admiration
+for Delorme and recompensed his talents with a royal generosity, even
+nominating him as Abbe of the Convent of Saint Eloi de Noyon, a fact
+which caused the poet Ronsard to evolve a political satire: "La Truelle
+Crossee."
+
+At the same time that she was building the Tuileries Catherine de Medici
+caused additions to be made to the Louvre; at least she undertook the
+completion of the unfinished portion, which had been left for other
+hands to do.
+
+The first historic souvenir which stands out prominently with regard to
+the Palais des Tuileries is the fete given four days before the fateful
+Saint Bartholomew's night. It was the marriage fete of the gallant Henri
+de Bearn, King of Navarre, and the wise and witty Marguerite de Valois.
+
+Henri IV, coming to the throne a quarter of a century after the
+admirable first year's work on the Tuileries had been completed, found
+that little had been done towards making it a really habitable place. It
+had been hurriedly finished off to the second story, and had served well
+enough for a temporary residence, or as an overflow establishment where
+balls and fetes might be given without crowding, but to the ambitious
+Henri IV nothing would do but that the pavilions should be bound
+together with a more imposing ligature, and that the Pavillon de Flore
+should in turn be linked up with the Louvre by a gallery.
+
+Under Louis XIII this latter really came to a conclusion according to
+the plans of the architect Ducerceau, but the inspiration of making the
+Louvre and the Tuileries one was due to Henri IV.
+
+Under Louis XIV and Louis XV the palace in its still attenuated form was
+scarcely more than a rambling lodging, utterly lacking any of the noble
+apartments with which it was afterwards endowed. The court at this time
+practically made Versailles its headquarters. Neither of the
+above-mentioned monarchs made aught but cursory visits to the Tuileries
+and left its occupancy to officers of the household and ministers of
+state.
+
+It was in the reign of Louis XV that the Florentine artist, Servandoni,
+who was at the same time an eminent architect, a remarkable painter and
+a _maestro_ of a musician, organized in the Palais des Tuileries the
+Theatre des Machines, the first installed at Paris, and there came the
+Comedie Francaise, the Opera and the Bouffes (the _Comedie Italienne_)
+and gave command performances before the court.
+
+When the French resolved that Louis XVI should live in Paris, the Palais
+des Tuileries was actually offered him, but it was a rather shabby place
+of royal residence so far as its interior appointments were concerned,
+though in all ways appealing when viewed from without. Considerable
+repairs and embellishments were made, but warring factions did much to
+make difficult any real artistic progress.
+
+With the advent of Louis XVI there came a contrast to gayety and freedom
+from care in royal hearts and heads. On October 5 Louis XVI and the
+royal family hid themselves behind barred doors, the convention taking
+up its sittings under the same roof and forthwith passing an act which
+allowed the completion of the palace according to the plans of Vignon at
+an expense of three hundred thousand _livres_. An almost entire
+transformation took place, the money being seemingly well spent, and the
+structure now first took its proper place among the monumental art
+treasures of the capital.
+
+A dramatic incident took place at the great gate of the Tuileries, which
+faced the courtyard, when, on May 28, 1795, the populace surged in waves
+against its sturdy barrier. The Deputy Feraud met them at the steps.
+"You may enter only over my dead body," he said. No reply was made but
+to crack his skull, behead the trunk and carry the head aloft on a pike
+to the very Tribune where Boissy d'Anglas was presiding.
+
+The Salle de Spectacle of the Tuileries was, even at this period, the
+largest auditorium of its kind in Europe, having eight thousand stalls
+and boxes, which gave a seating capacity of considerably more than that
+number of persons.
+
+In 1793 this playhouse, of which the parquet occupied the ground floor
+of the Pavillon de Marsan, underwent a strange metamorphosis when it
+became the legislative hall for the National Convention. All the names
+and emblems showing forth in its decorations and indicative of its
+ancient rule were changed into Republican devices and symbols. The
+Pavillon de Marsan was called the Pavillon de l'Egalite, the Pavillon du
+Centre became the Pavillon de l'Unite and the Pavillon de Flore the
+Pavillon de la Liberte, where was lodged the Committee of Public
+Safety.
+
+The Hall of the Convention, according to reports of the time, was an
+appalling mixture of grandeur and effeminacy with respect to its
+architectural lines. Surrounding that portion where the legislators
+actually sat was the great amphitheatre which for three years was
+occupied by a curious, vociferous public, more demonstrative, even, than
+those that had attended the former theatrical representations in the
+same apartment.
+
+From the opening of the National Convention to the reaction of
+"Thermidor" it is estimated that more than three million people assisted
+at what they rightly, or wrongly, considered as a "spectacle" staged
+only for their amusement.
+
+By the time Napoleon had come into power the Tuileries was hardly
+habitable, and before taking up his residence he was obliged to make
+immediate and extensive transformations.
+
+On February 19, 1800, Napoleon, still First Consul, left the Palais de
+Luxembourg and took up his residence in the Tuileries, the Third Consul,
+Lebrun, being lodged in the Pavillon de Flore, in the "Petite
+Appartement," which Marie Antoinette had fitted up for her temporary
+accommodation when in town. Lebrun, however, gave up his lodging to the
+Pope when the Pontiff came to Paris at Napoleon's orders. Consul
+Cambaceres, however, refused to shelter himself beneath the roof of the
+Tuileries, and indicated a preference for the magnificent Hotel
+d'Elboeuf, which was accommodatingly put at his disposition.
+
+Napoleon entered the Tuileries in state, preceded and followed by an
+imposing cortege. At the gate of the Carrousel the consuls alighted from
+their carriages, and were received by the Consular Guard. On their
+arrival the consuls read the following inscription posted at the
+entrance: "On August 10th monarchy in France was forever abolished; it
+will never be restored." By the 20th of February the inscription had
+disappeared. Besides, orders were given to cut down the two liberty
+trees which had been planted in the courtyard. On August 10 a large
+quantity of cannon shot had been lodged in the facade of the Tuileries,
+and around the shot were written these words: "Tenth of August." The
+cannon balls disappeared, as well as the inscriptions, when the Arc de
+Triomphe was erected on the Place du Carrousel.
+
+This alteration gave great satisfaction. It was important for the
+tranquillity of France that the new government should inherit rather the
+sword of Charlemagne than the guillotine of Marat.
+
+[Illustration: _Salle des Marechaux, Tuileries_]
+
+The imperial court soon displayed its splendour and magnificence in
+the Palais des Tuileries, as a foregone conclusion anticipated.
+
+In a gorgeous and imposing Salle du Trone one might have seen in the
+deep casement of the central window, standing up, their hats off, the
+group of the Corps Diplomatique, the members of which, loaded with
+decorations, ensigns, and diamonds, trembled in the presence of the
+Little Corporal of other days; on the other side, the host of the
+Princes of the Rhine Confederation--all the personages that Germany,
+Russia, Poland, Italy, Denmark, Spain, all Europe, in one word, England
+excepted, had sent to Paris.
+
+It is needless to say that the wedding reception of Napoleon and Marie
+Louise at the Tuileries was celebrated with unusual magnificence.
+Another event, on account of its peculiar moment, strongly excited the
+enthusiasm of the French. On March 20, 1811, at seven o'clock in the
+morning, the first salute of cannon announced that the empress had given
+birth to a child, the future Aiglon, the King of Rome.
+
+After Napoleon's occupancy of the Tuileries it again served the monarch
+under the Empire, the Restoration, under Louis Philippe and under the
+Second Empire. The palace of unhappy memory saw successively the fall of
+Napoleon, the entry of Louis XVIII, the file-by of the Allies, the
+flight of Louis XVIII, of Charles X, Louis Philippe and Napoleon III.
+
+Up to the time of the Second Empire the Tuileries preserved, more or
+less, its original interior arrangement, and, to a great extent, the
+decorations with which it had been embellished under Louis XIV, Louis
+XVI, and Napoleon I.
+
+The Pavilion de Flore, at the juncture of the Tuileries and the Louvre
+of Henri IV, was practically rebuilt during the Second Empire, but it
+followed closely the contemporary designs of the adjoining building.
+Here are quartered executive offices of the Prefecture de la Seine. That
+portion facing the Pont Royal contains a series of fine sculptures by
+Carpeaux, the sole modern embellishments of this nature to be seen in or
+on a Paris palace.
+
+As the Commune mob was fleeing before the army of Versailles a
+conflagration broke out in the Tuileries and soon the whole edifice was
+in flames. Within what may have been the briefest interval on record for
+a conflagration of its size the Tuileries was but a smoking pile of
+half-calcined stones.
+
+The Tuileries had another brief day of glory when the Prince President,
+Louis Napoleon, entered its gates, coming straight from his inauguration
+at Notre Dame.
+
+The cannon at the Hotel des Invalides blazed out a welcome and every
+patriot Republican shouted: "Vive Napoleon!" They little knew, little
+cared perhaps, that he would some day become the Second Emperor.
+
+The throng poured forth from the cathedral after the _Domine Salvum_ and
+the benediction, the clergy leading the way, followed by the president
+and his attendants. The orchestra played a lively march, and the great
+bell in the tower boomed forth a glorious peal.
+
+       *       *       *       *       *
+
+The president's carriage drew up before the gates of the Tuileries and
+he entered the great apartment where a reception was given to various
+public and military bodies. Between seven and eight thousand naval and
+military officers paid their respects, and about half a battalion of the
+army saluted, among them two Mamelukes. While this ceremony was going
+on, the Place du Carrousel was occupied by several squadrons of cavalry
+and the inner courtyards were practically infantry camps. The government
+was taking no chances at the beginning of its career. The reception
+lasted until well on towards evening, when a banquet of four hundred
+covers was laid and partaken of by the invited guests.
+
+The last days of the Tuileries may be said to have commenced with that
+eventful September 3, 1870, at five o'clock in the afternoon, when the
+Empress Eugenie received a telegraphic despatch from Napoleon III
+announcing his captivity and the defeat of Sedan. It was the overthrow.
+
+The evening and the night were calm; the masses, as yet, were unaware of
+the fatal news the journals would publish on the morrow. The following
+day was Sunday; the weather superb; the disaster was finally announced
+and the masses thronged from all parts to the Place de la Concorde,
+where a squadron of Cuirassiers barred the bridge leading to the Palais
+Bourbon where the deputies were in session.
+
+On the arrival of the news the empress had called in General Trochu, the
+Military Governor of Paris, and asked him if he could guarantee order.
+He replied in the affirmative. Some hours later a group of deputies came
+to the empress and counselled her to sign, not an abdication, but a
+momentary renunciation of her powers as regent. Eugenie refused
+point-blank.
+
+The throng, passing by the left bank, had arrived at the Chamber of
+Deputies, and the formal sitting became a revolutionary one. At three
+o'clock the imperial dynasty was proclaimed as at an end, and a
+provisionary government installed. Henri Rochefort, the present editor
+of the "_Intransingeant_," was delivered from the prison of Sainte
+Pelagie and made a member of the government.
+
+By this time the mob which had invaded the Place de la Concorde became
+menacing. The cry, "Aux Tuileries," first launched by the street gamins,
+soon became the slogan of the crowd. To say it was to do it; the great
+iron gates were closed, but in default of a protecting force of arms it
+was an easy matter to scale them.
+
+Behind the curtained windows of the palace the empress witnessed the
+assault and murmured to her ladies-in-waiting: "It is then finished."
+She turned towards the Prince de Metternich and the Chevalier Nigra,
+and, in the voice of a suppliant, demanded: "_Que me consillez vous?_"
+
+"You must leave at once, Madame; in a moment the palace will be
+invaded."
+
+The empress became resigned and accompanied by Madame Le Breton,
+Metternich and Nigra started for the Pavilion de Flore, passing through
+the Galerie de Musee and the Galerie d'Apollon, finally leaving by the
+gate of the Louvre, which is opposite Saint Germain l'Auxerrois.
+
+The empress was at last out of the palace, but not yet out of danger. A
+band of manifestants, making for the Hotel de Ville and shouting; "Vive
+la Republique," recognized the empress, but she mounted an empty fiacre
+with Madame Le Breton, and giving the driver the first address that
+entered her mind thus escaped further indignities, and perhaps danger.
+Finally she found a refuge with Doctor Evans, the American dentist
+living in the Avenue Malakoff, from whose house she left for England on
+the following day.
+
+This is the Frenchman's point of view of one of the picturesque
+incidents of history. It disposes of the legend that the empress left
+the Tuileries in the carriage of Doctor Evans, but this cannot be
+helped, with due regard for the consensus of French opinion. Doctor
+Evans was a family friend, besides being the dentist who cared for the
+imperial teeth, and it is not going beyond the truth to state that the
+fortunate American acquired not a little of his vogue and wealth by his
+association with Napoleon III and his family.
+
+By this time the populace had invaded the palace and cursed with
+indignities unmentionable the marble halls, and the furnishings in
+general, and pillaged such portable property as pleased the individual
+fancies of the spoilsmen.
+
+After the signing of the Peace Treaty by the Bordeaux Assembly, which
+now represented the governmental head, and Thiers had become president,
+that worthy would do away with the cannon of which the National Guard
+still held possession in their garrison on the Butte of Montmartre. The
+orders which he sent forth came to be the signal for another outbreak on
+the part of the populace. On March 18 the Commune was proclaimed and
+Citoyen Dardelle, an old African hunter, was appointed military governor
+of the Tuileries. Whatever this individual's military qualifications may
+have been, he delivered himself to the enjoyment of a high and dissolute
+life in his luxurious apartments in the palace; a fact which was
+speedily made note of by the still restless populace.
+
+The Citoyen Rousselle, a member of the Communal Government, had the idea
+of organizing a series of popular concerts in the gardens of the
+Tuileries for the profit of the wounded in the late friction.
+
+Hung on the walls, at the entrance of each apartment was a placard which
+read: "Fellow men, the gold with which these walls were built was earned
+by your sweat." "To-day you are coming to your own." "Remain faithful to
+your trust and see to it that the tyrants enter never more."
+
+During one of these public concerts a poem of Hegesippe Moreau was read
+which terminated as follows, and set the populace aflame.
+
+          *       *       *
+   "Et moi j'applaudirai; ma jeuneusse engourdie
+   Se rechauffera a ce grand incendie."
+
+He referred to the burning of the former abode of emperors and kings as
+a sort of sacrifice to the common good. The public had held itself in
+hand very well up to this moment, but applauded the verses vociferously.
+The last of the concerts was held on May 21, the same day as the Army of
+Versailles entered Paris. Night came, and with it the raging, red flames
+springing skywards from the roof of the Tuileries.
+
+In a few moments the flames had enveloped the entire building. All the
+forces that it was possible to gather had been ordered upon the scene,
+but they were unable to save the old palace, and by one o'clock in the
+morning it was but a mass of smoking ruins. The Communards had done
+their work well. Before leaving its precincts they had sprinkled coal
+oil over every square metre of carpet, window-hangings and tapestries,
+and the slow-match was not long in passing the fire to its inflammable
+timber. The library of the Louvre was destroyed, but the museums,
+galleries and their famous collections fortunately escaped.
+
+For a dozen years the lamentable ruins of the old palace of the
+Tuileries reared their singed walls, a witness and a reproach to the
+tempestuosity of a people. Finally, in 1882, Monsieur Achille Picard
+undertook their removal for thirty-three thousand francs, and within a
+year not a vestige, not an unturned stone remained in its original place
+as a witness to this chapter of Paris history.
+
+Two porticos of the Pavillon de l'Horloge, originally forming a part of
+the Tuileries, have been re-erected on the terrace of the Orangerie,
+facing the Place de la Concorde.
+
+There remain but two survivors of the late imperial sway in France, the
+Empress Eugenie who lives in England, and Emile Olivier, "_l'homme au
+coeur leger_," who lives at Saint Tropez in the Midi.
+
+A Paris journalist a year or more ago, while sitting among a little
+coterie of literary and artistic folk at Lavenue's famous terrace-cafe,
+recounted the following incident clothed in most discreet language, and
+since it bears upon the Tuileries and its last occupants it is repeated
+here.
+
+"Last night beneath the glamour of a September moon I saw a black shadow
+silently creep out from beneath the gloom of the arcades of the Rue de
+Rivoli just below the Hotel Continental. It crossed the pavement and
+passed within the railings of the gardens opposite, one of the gates to
+which, by chance or prearranged design, was still open. It moved slowly
+here and there upon the gravelled walks and seated itself upon a
+solitary bench as if it were meditating upon the splendid though sad
+hours that had passed. Was it a wraith; was it Eugenie, late empress of
+the French?"
+
+To have remembered such a dream of fancy for forty long years one must
+have been endowed with superhuman courage, or an inexplicable
+conscience.
+
+The Rue des Pyramides, which has been prolonged to the banks of the
+Seine, will give those of the present generation who have never seen the
+Tuileries an exact idea of its location. If it still existed the facade
+of the palace would front upon this street.
+
+The most moving history of the detailed horrors of the Commune,
+particularly with reference to the part played by the Tuileries therein,
+is to be found in Maxime Ducamp's "_Les Derniers Convulsions de Paris_."
+
+One relic of the Tuileries left unharmed found a purchaser in a
+Roumanian prince, at a public sale held as late as 1889. This was the
+ornately beautiful iron gate which separated the Cour du Carrousel from
+the Cour des Tuileries. Roumanian by birth, French at heart and Parisian
+by adoption, this wealthy amateur, for a trifle over eight thousand
+francs, became the owner of a royal souvenir which must have cost five
+hundred times that sum.
+
+The eastern front of the Tuileries opened into a courtyard formed under
+the direction of the first Napoleon. It was separated from the Place du
+Carrousel by a handsome iron railing with gilt spear-heads extending the
+whole range of the palace. From this court there were three entrances
+into the Place du Carrousel, the central gate corresponding with the
+central pavilion of the palace, the other two having their piers
+surmounted by colossal figures of victory, peace, history and France. A
+gateway under each of the lateral galleries also communicated on the
+north with the Rue de Rivoli, and on the south with the Quai du Louvre.
+The Place du Carrousel was named in honour of a tournament held upon the
+spot by Louis XIV in 1662. It communicated on the north with the Rue
+Richelieu and the Rue de l'Echelle, and on the south with the Pont Royal
+and the Pont du Carrousel. To-day in the square stands the triumphal
+arch erected by Napoleon in 1806, after the designs of Percier and
+Fontaine.
+
+The newly laid-out and furbished-up gardens make the Place du Carrousel
+even more attractive than it was when set about with flagged areas,
+gravelled walks and paved road ways, and, while the monumental and
+architectural accessories excel the horticultural embellishments in
+quantity, the general effect is incomparably finer at present than
+anything known before.
+
+Plans for rebuilding the Place du Carrousel provide for a division into
+three distinct parts, three grand _pelouses_, _a boulingrins a la
+Francais_, or lawns of a circumscribed area, according to the best
+traditions of Le Notre, a border of flowers and a few decoratively
+disposed clumps of flowering shrubs, the whole combined in such a way
+that the perspective and vista down the Champs Elysees will in no manner
+suffer. The architect-landscapist, M. Redon, who has been charged with
+the work, has drawn his inspiration from a series of unexecuted designs
+of Le Notre which have recently been brought to light from the innermost
+depths of the national archives. It was a safe way of avoiding an
+anachronism, and this time a government architect has chosen well his
+plan of execution.
+
+In later years the question of the reembellishment of the Garden of the
+Tuileries has ever been before the public, but little has actually been
+changed save the remaking of certain garden plots, the planting of a few
+shrubs or the placing of a few statues.
+
+The Garden of the Tuileries has a superficial area of 232,632 square
+metres. It is the most popular of all open spaces in the capital to the
+Parisian who would take his walks abroad not too far from the centre of
+things. The chief curiosity of the garden is the celebrated chestnut
+tree which burst into flower on the day of Napoleon's arrival from
+Elba--March 20. The precocious tree has ever been revered by the
+Bonapartists since, though the tree has never performed the trick the
+second time.
+
+Statues innumerable are scattered here and there through the garden and
+give a certain sense of liveliness to the area. Some are by famous
+names, others by those less renowned, but as a whole they make little
+impression on one, chiefly, perhaps, because one does not come to the
+Garden of the Tuileries to see statues.
+
+To the left and right are the terraces, first laid out by the celebrated
+Le Notre. Like the hanging gardens of Babylon, they overlook a lower
+level of _parterres_, gravelled walks and ornamental waters. Along the
+Rue de Rivoli is the Terrasse de l'Orangerie, and on the side of the
+river is the Terrasse de la Marine.
+
+According to the original plans of Le Notre the garden was set down as
+five hundred _toises_ in length, and one hundred and sixty-eight
+_toises_ in width, the latter dimension corresponding to that of the
+facade of the palace.
+
+Along the shady avenues of this admirable city garden of to-day an
+enterprising _concessionaire_ has won a fortune by renting out
+rush-bottomed chairs to nursemaids, retired old gentlemen with red
+ribbons in their buttonholes, and trippers from across the channel. It
+is a perfectly legitimate enterprise and a profitable one it would seem,
+and has been in operation considerably more than half a century.
+
+It was from the Gardens of the Tuileries in 1784 that took place
+Blanchard's celebrated ascension in Montgolfier's balloon and brought
+forth the encomium from the British Royal Society that the body was not
+in the least surprised that a Frenchman should have solved the problem
+of "volatability." The French monarch, more practical, was so mightily
+pleased with the success of the experiment that he bestowed upon the
+author the sum of four hundred thousand francs from his treasury to be
+used for the perfection of the art.
+
+
+
+
+CHAPTER VIII
+
+THE PALAIS CARDINAL AND THE PALAIS ROYAL
+
+
+With the Louvre and the Tuileries the Palais Royal shares the popular
+interest of the traveller among all the monuments of Paris. No other
+edifice evokes more vivid souvenirs of its historic past than this
+hybrid palace of Richelieu. One dreams even to-day, of its
+sumptuousness, its legends, its amusing and extravagant incidents which
+cast a halo of romantic interest over so many illustrious personages. So
+thoroughly Parisian is the Palais Royal in all things that it has been
+called "the Capital of Paris."
+
+Not far from the walled and turreted stronghold of the old Louvre rose
+the private palaces, only a little less royal, of the Rambouillets, the
+Mercoeurs and other nobles of the courtly train. They lived, too, in
+almost regal state until Armand du Plessis de Richelieu came to humble
+their pride, by fair means or foul, by buying up or destroying their
+sumptuous dwellings, levelling off a vast area of land, and, in 1629,
+commencing work on that imposing pile which was first known as the
+Palais Cardinal, later the Palais d'Orleans, then as the Palais de la
+Revolution and finally as the Palais Royal.
+
+It was near, yet far enough away from the royal residence of the Louvre
+not to be overshadowed by it. The edifice enclosed a great square of
+ground laid out with symmetrically planted trees and adorned with
+fountains and statues.
+
+From the great central square four smaller courts opened out to each of
+the principal points of the compass; there were also, besides the living
+rooms, a chapel, two theatres, ballrooms, boudoirs and picture
+galleries, all of a luxury never before dreamed of but by kings.
+
+The main entrance was in the Rue Saint Honore, and over its portal were
+the graven arms of Richelieu, surmounted by the cardinal's hat and the
+inscription: "Palais Cardinal." Like his English compeer, Wolsey,
+Richelieu's ardour for building knew no restraint. He added block upon
+block of buildings and yard upon yard to garden walls until all was a
+veritable labyrinth. Finally the usually subservient Louis saw the
+condition of things; he liked it not that his minister should dwell in
+marble halls more gorgeous than his own. As a matter of policy the
+Cardinal ceased to build more and at his death, as if to atone, willed
+the entire property to his king.
+
+As the Palais Cardinal, the edifice was subjected to many impertinent
+railleries from the public which, as a whole, was ever antagonistic to
+the "_Homme Rouge_." They did not admit the right of an apostolic
+prelate of the church to lodge himself so luxuriously when the very
+precepts of his religion recommended modesty and humility. Richelieu's
+contemporaries did not hesitate to admire wonderingly all this luxury of
+life and its accessories, and Corneille, in the "_Menteur_" (1642),
+makes one of the principal characters say:
+
+   "Non, l'univers ne peut rien voir d'egal
+   Aux superbes dehors du Palais Cardinal;
+   Toute une ville entiere avec pompe batie,
+   Semble d'un vieux fosse par miracle sortie,
+   Et nous fais presumer a ses superbes toits
+   Que tous ses habitants sont des dieux ou des rois."
+
+The ground plan of the Palais Cardinal was something unique among city
+palaces. In the beginning ground values were not what they are to-day in
+Paris. There were acres upon acres of greensward set about and cut up
+with gravelled walks, great alleyed rows of trees, groves without number
+and galleries and colonnades innumerable. Without roared the traffic of
+a great city, a less noisy traffic than that of to-day, perhaps, but
+still a contrasting maelstrom of bustle and furor as compared with the
+tranquillity within.
+
+After the edifice was finished it actually fell into disuse, except for
+the periodical intervals when the Cardinal visited the capital. At other
+times it was as quiet as a cemetery. Moss grew on the flags, grass on
+the gravelled walks and tangled shrubbery killed off the budding flowers
+of the gardens.
+
+Richelieu's last home-coming, after the execution of Cinq-Mars at Lyons,
+was a tragic one. The despot of France, once again under his own
+rooftree, threw himself upon his bed surrounded by his choicest pictures
+and tapestries, and paid the price of his merciless arrogance towards
+all men--and women--by folding his wan hands upon his breast and
+exclaiming, somewhat unconvincingly: "Thus do I give myself to God." As
+if recalling himself to the stern reality of things he added: "I have no
+enemies but those of State."
+
+In a robe of purple silk, supported by pillows of the finest down and
+covered with the rarest of laces, he rigidly straightened himself out
+and expired without a shudder, with the feeling that he was well beyond
+the reach of invisible foes. But before he died Richelieu received a
+visit from his king in person. This was another token of his invincible
+power.
+
+Thus the Palais Royal was evolved from the Palais Cardinal of Richelieu.
+Richelieu gave the orders for its construction to Jacques Lemercier
+immediately after he had dispossessed the Rambouillets and the
+Mercoeurs, intending at first to erect only a comparatively modest
+town dwelling with an ample garden. Vanity, or some other passion,
+finally caused to grow up the magnificently proportioned edifice which
+was called the Palais Cardinal instead of that which was to be known
+more modestly as the Hotel de Richelieu.
+
+Vast and imposing, but not without a certain graceful symmetry, the
+Palais Royal of to-day is a composition of many separate edifices
+divided by a series of courts and gardens and connected by arcaded
+galleries. The right wing enclosed an elaborate Salle de Spectacle while
+that to the left enclosed an equally imposing chamber with a ceiling by
+Philippe de Champaigne, known as the Galerie des Hommes Illustres, and
+further ornamented with portraits of most of the court favourites of
+both sexes of the time. The architectural ornamentation of this gallery
+was of the Doric order, most daringly interspersed with moulded ships'
+prows, anchors, cables and what not of a marine significance.
+
+In 1636, divining the attitude of envy of many of the nobility who
+frequented his palace, Richelieu--great man of politics that he
+was--made a present of the entire lot of curios to Louis XIII, but
+undertaking to house them for him, which he did until his death in 1642.
+
+At the death of Louis XIII the Palais Cardinal, which had been left to
+him in its entirety by the will of Richelieu, came to Anne d'Autriche,
+the regent, who, with the infant Louis XIV and the royal family,
+installed herself therein, and from now on (October 7, 1642), the
+edifice became known as the Palais Royal.
+
+Now commenced the political role of this sumptuous palace which hitherto
+had been but the Cardinal's caprice. Mazarin had succeeded Richelieu,
+and to escape the anger of the Frondeurs, he, with the regent and the
+two princes, Louis XIV and the Duc d'Anjou, fled to the refuge of Saint
+Germain-en-Laye.
+
+In company with Mademoiselle de Montpensier, who had been rudely
+awakened from her slumbers in the Luxembourg, they took a coach in the
+dead of night for Saint Germain. It was a long and weary ride; the _Pavi
+du Roi_ was then, as now, the most execrable suburban highroad in
+existence.
+
+When calm was reestablished Mazarin refused to allow the regent to take
+up her residence again in the old abode of Richelieu and turned it over
+to Henriette de France, the widow of Charles I, who had been banished
+from England by Cromwell.
+
+Thirty odd years later Louis XIV, when he was dreaming of his Versailles
+project, made a gift of the property to his nephew, Philippe d'Orleans,
+Duc de Chartres. Important reconstructions and rearrangements had been
+carried on from time to time, but nothing so radical as to change the
+specious aspect of the palace of the Cardinal's time, though it had been
+considerably enlarged by extending it rearward and annexing the Hotel
+Danville in the present Rue Richelieu. Mansart on one occasion was
+called in and built a new gallery that Coypel decorated with fourteen
+compositions after the AEnid of Virgil.
+
+Under the regency the Salon d'Entree was redecorated by Oppenard, and a
+series of magnificent fetes was organized by the pleasure-loving queen
+from the Austrian court. Richelieu's theatre was made into an
+opera-house, and masked balls of an unparalleled magnificence were
+frequently given, not forgetting to mention--without emphasis
+however--suppers of a Pantagruelian opulence and lavish orgies at which
+the chronicles only hint.
+
+In 1661, Monsieur, brother of the king, took up his official residence
+in the palace, enlarged it in various directions and in many ways
+transformed and improved it. Having become the sole proprietor of the
+edifice and its gardens, by Letters Patent of February, 1692, the Duc
+d'Orleans left this superb property, in 1701, to his son the too famous
+regent, Philippe d'Orleans, whose orgies and extravagances rendered the
+Palais Royal notorious to the utmost corners of Europe.
+
+The first years of the eighteenth century were indeed notorious. It was
+then that Palais Royal became the head-centre for debauch and abandon.
+It is from this epoch, too, that date the actual structures which to-day
+form this vast square of buildings, at all events their general outline
+is little changed to-day from what it was at that time.
+
+If the regent's policy was to carry the freedom and luxury of
+Richelieu's time to excess, replacing even the edifices of the Cardinal
+with more elaborate structures, his son Louis (1723-1752) sought in his
+turn to surround them with an atmosphere more austere.
+
+A disastrous fire in 1763 caused the Palais Royal to be rebuilt by order
+of Louis Philippe d'Orleans, the future Philippe-Egalite, by the
+architect Moreau, who carried out the old traditions as to form and
+outline, and considerably increased the extent and number of the arcades
+from one hundred and eighty to two hundred and seven. These the astute
+duke immediately rented out to shopkeepers at an annual rental of more
+than ten millions. This section was known characteristically enough as
+the Palais Marchand, and thus the garden came to be surrounded by a
+monumental and classic arcade of shops which has ever remained a
+distinct feature of the palace.
+
+A second fire burned out the National Opera, which now sought shelter in
+the Palais Royal, and in 1781 the Theatre des Varietes Amusantes was
+constructed, and which has since been made over into the home of the
+Comedie Francaise.
+
+The transformations imposed by Philippe-Egalite were considerable, and
+the famous chestnut trees, which had been planted within the courtyard
+in the seventeenth century by Richelieu, were cut down. He built also
+the three transverse galleries which have cut the gardens of to-day into
+much smaller plots than they were in Richelieu's time. In spite of this
+there is still that pleasurable tranquillity to be had therein to-day,
+scarcely a stone's throw from the rush and turmoil of the whirlpool of
+wheeled traffic which centres around the junction of the Rue Richelieu
+with the Avenue de l'Opera. It is as an oasis in a turbulent sandstorm,
+a beneficent shelf of rock in a whirlpool of rapids. The only thing to
+be feared therein is that a toy aeroplane of some child will put an eye
+out, or that the more devilish _diabolo_ will crack one's skull.
+
+Under the regency of the Duc Philippe d'Orleans the various apartments
+of the palace were the scenes of scandalous goings-on, which were
+related at great length in the chronicles of the time. It was a very
+mixed world which now frequented the _purlieus_ of the Palais Royal. Men
+and women about town jostled with men of affairs, financiers,
+speculators and agitators of all ranks and of questionable
+respectability. Milords, as strangers from across the Manche came first
+to be known here, delivered themselves to questionable society and still
+more questionable pleasures. It was at a little later period that the
+Duc de Chartres authorized the establishment of the cafes and
+restaurants which for a couple of generations became the most celebrated
+rendezvous in Paris--the Cafe de Foy, the Cafe de la Paix, the Cafe
+Carrazzo and various other places of reunion whose very names, to say
+nothing of the incidents connected therewith, have come down to history.
+
+It was the establishment of these public rendezvous which contributed
+so largely to the events which unrolled themselves in the Palais Royal
+in 1789. This "Eden de l'Enfer," as it was known, has in late years been
+entirely reconstructed; the old haunts of the Empire have gone and
+nothing has come to take their place.
+
+Then came another class of establishments which burned brilliantly in
+the second rank and were, in a way, political rendezvous also--the Cafe
+de Chartres and the Cafe de Valois. Of all these Palais Royal cafes of
+the early nineteenth century the most gorgeous and brilliant was the
+Cafe des Mille Colonnes, though its popularity was seemingly due to the
+charms of the _maitresse de la maison_, a Madame Romain, whose husband
+was a dried-up, dwarfed little man of no account whatever. Madame
+Romain, however, lived well up to her reputation as being
+"_incontestablement la plus jolie femme de Paris_." By 1824 the fame of
+the establishment had begun to wane and in 1826 it expired, though the
+"_Almanach des Gourmands_" of the latter year said that the proprietor
+was the Very of _limonadiers_, that his ices were superb, his salons
+magnificent--and his prices exorbitant. Perhaps it was the latter that
+did it!
+
+Another establishment, founded in 1817, was domiciled here, the clients
+being served by "_odalisques en costume oriental, tres seduisantes_."
+This is quoted from the advertisements of the day. The cafe was called
+the Cafe des Circassiennes, and there was a _sultane_, who was the
+presiding genius of the place. It met with but an indifferent success
+and soon closed its doors despite its supposedly all-compelling
+attractions.
+
+In the mid-nineteenth century a revolution came over the cafes of Paris.
+Tobacco had invaded their precincts; previously one smoked only in the
+_estaminets_. Three cafes of the Palais Royal resisted the innovation,
+the Cafe de la Galerie d'Orleans, the Cafe de Foy and the Cafe de la
+Rotonde. To-day, well, to-day things are different.
+
+The Theatre du Palais Royal of to-day was the Theatre des Marionettes of
+the Comte de Beaujolais, which had for contemporaries the Fantoches
+Italiens, the Ombres Chinoises and the Musee Curtius, perhaps the first
+of the wax-works shows that in later generations became so popular. The
+Palais Royal had now become a vast amusement enterprise, with side-shows
+of all sorts, theatres, concerts, cafes, restaurants, clubs,
+gambling-houses and what not--all paying rents, and high ones, to the
+proprietor.
+
+In the centre of the garden, where is now the fountain and its basin,
+was a circus, half underground and half above, and there were
+innumerable booths and kiosks for the sale of foolish trifles, all
+paying tribute to the ground landlord.
+
+Gaming at the Palais Royal was not wholly confined to the public
+gambling houses. During the carnival season of 1777 the gambling which
+went on in the royal apartments became notorious for even that
+profligate time: in one night the Duc de Chartres lost eight thousand
+_livres_. Louis XVI, honest man, took all due precautions to reduce this
+extravagance, but was impotent.
+
+Between the courtyard fountain and the northern arcade of the inner
+palace was placed the famous Cannon du Palais Royal, which, by an
+ingenious disposition, was fired each day at midday by the action of the
+sun's rays. All the world stood around awaiting the moment when watches
+might be regulated for another twenty-four hours.
+
+The celebrated Abbe Delille, to whom the beauties of the gardens were
+being shown, deplored the lack of good manners on the part of the
+habitues and delivered himself of the following appropriate quatrain:
+
+   "Dans ce jardin tout se rencontree
+   Excepte l'ombrage et les fleurs;
+   Si l'on y deregle ses moeurs
+   Du moins on y regle sa montre."
+
+The Galerie de Bois was perhaps the most disreputable of all the palace
+confines. It was a long, double row of booths which only disappeared
+when Louis-Philippe built the glass-covered Galerie d'Orleans.
+
+Up to the eve of the Revolution the Palais Royal enjoyed the same
+privileges as the Temple and the Luxembourg, and became a sort of refuge
+whereby those who sought to escape from the police might lose themselves
+in the throng. The monarch himself was obliged to ask permission of the
+Duc d'Orleans that his officials might pursue their police methods
+within the outer walls.
+
+It was July 12, 1789. The evening before, Louis XVI had dismissed his
+minister, Neckar, but only on Sunday, the 12th, did the news get abroad.
+At the same time it was learned that the regiment known as the Royal
+Allemand, under the orders of the Prince de Lambesc, had charged the
+multitude gathered before the gates of the Tuileries. Cries of "A Mort!"
+"Aux Armes!" "Vengeance!" were hurled in air from all sides.
+
+At high noon in the gardens of the Palais Royal, on the 13th, as the
+midday sun was scorching the flagstones to a grilling temperature, the
+sound of a tiny cannon shot smote the still summer air with an echo
+which did not cease reverberating for months. The careless, unthinking
+promenaders suddenly grew grave, then violently agitated and finally
+raving, heedlessly mad. A young unknown limb of the law, Camille
+Desmoulins, rushed bareheaded and shrieking out of the Cafe de Foy,
+parted the crowd as a ship parts the waves, sprang upon a chair and
+harangued the multitude with such a vehemence and conviction that they
+were with him as one man.
+
+"Citizens," he said, "I come from Versailles * * * It only remains for
+us to choose our colours. _Quelle couleur voulez vous?_ Green, the
+colour of hope; or the blue of Cincinnati, the colour of American
+liberty and democracy."
+
+_"Nous avons assez delibere!_ Deliberate further with our hands not our
+hearts! We are the party the most numerous: To arms!"
+
+On the morrow, the now famous 14th of July, the Frenchman's "glorious
+fourteenth," the people rose and the Bastille fell.
+
+Revolutionary decree, in 1793, converted the palace and its garden into
+the Palais et Jardin de la Revolution, and appropriated them as national
+property. Napoleon granted the palace to the Tribunal for its seat, and
+during the Hundred Days Lucien Bonaparte took up his residence there. In
+1830 Louis Philippe d'Orleans gave a great fete here in honour of the
+King of Naples who had come to the capital to pay his respects to the
+French king. Charles X, assisting at the ceremony as an invited guest,
+was also present and a month later came again to actually inhabit the
+palace and make it royal once more.
+
+[Illustration: The Galleries of the Palais-Royal under Napoleon First.]
+
+The table herewith showing the ramifications of the Bourbon Orleans
+family in modern times is interesting--all collateral branches of the
+genealogical tree sprouting from that of Louis Philippe. The heraldic
+embellishments of this family tree offer a particular interest in that
+the armorial blazonings are in accord with a decree of the French
+Tribunal, handed down a few years since, which establishes the right to
+the head of the house to bear the _ecu plein de France--d'azur a trois
+fleurs de lys d'or_, thus establishing the Orleans legitimacy.
+
+[Illustration]
+
+The Republic of 1848 made the palace the headquarters of the Cour des
+Comptes and of the Etat Major of the National Guard. Under Napoleon III
+the Palais Royal became the dwelling of Prince Jerome, the uncle of the
+emperor. Later it served the same purpose for the son of Prince
+Napoleon. It was at this epoch that the desecration of scraping out the
+blazoned _lys_ and the chipping off the graven Bourbon _armoiries_ took
+place. Whenever one or the other hated Bourbon symbol was found, eagles,
+phoenix-like, sprang up in their place, only in their turn to
+disappear when the Republican device of '48 (now brought to light
+again), _Liberte, Egalite, Fraternite_--replaced them.
+
+During the Commune of 1870 a part of the left wing and the central
+pavilion suffered by fire, but restorations under the architect,
+Chabrol, brought them back again to much their original outlines.
+Through all its changes of tenure and political vicissitudes little
+transformation took place as to the ground plan, or sky-line silhouette,
+of the chameleon palace of cardinal, king and emperor, and while in no
+sense is it architecturally imposing or luxurious, it is now, as ever in
+the past, one of the most distinctive of Paris's public monuments.
+
+To-day the Palais Royal proper may be said to face on Place du Palais
+Royal, with its principal entrance at the end of a shallow courtyard
+separated from the street by an iron grille and flanked by two
+unimposing pavilions. The principal facade hides the lodging of the
+Conseil d'Etat and is composed of but the ground floor, a story above
+and an attic.
+
+The Aile Montpensier, which follows on from the edifice which houses the
+Comedie Francaise, was, until recently, occupied by the Cour des
+Comptes. The Aile de Valois fronts the street of that name, and here the
+Princes d'Orleans and King Jerome made their residence. To-day the same
+wing is devoted to the uses of the Under Secretary for the Beaux Arts.
+
+It is not necessary to insist on, nor reiterate, the decadence of the
+Palais Royal. It is no longer the "capitol of Paris," and whatever its
+charms may be they are mostly equivocal. It is more a desert than an
+oasis or a _temple de la volupte_, and it was each of these things in
+other days. Its priestesses and its gambling houses are gone, and who
+shall say this of itself is not a good thing in spite of the admitted
+void.
+
+The mediocrity of the Palais Royal is apparent to all who have the
+slightest acquaintance with the architectural orders, but for all that
+its transition from the Palais du Cardinal, Palais Egalite, Palais de
+la Revolution and Palais du Tribunat to the Palais Royal lends to it an
+interest that many more gloriously artistic Paris edifices quite lack.
+
+There is a movement on foot to-day to resurrect the Palais Royal to some
+approach to its former distinction, which is decidedly what it has not
+been for the past quarter of a century. Satirical persons have demanded
+as to what should be made of it, a _velodrome_ or a skating-rink, but
+this is apart from a real consideration of the question for certain it
+is that much of its former charm can be restored to it without turning
+it into a Luna Park. It is one of the too few Paris breathing-spots, and
+as such should be made more attractive than it is at the present time.
+
+It was sixty years ago, when Louis Philippe was the legitimate owner of
+the Palais Royal, its galleries, its shops, its theatre and its gardens,
+that it came to its first debasement. "One went there on tip-toe, and
+spoke in a whisper," said a writer of the time, and one does not need to
+be particularly astute to see the significance of the remark.
+
+It was Alphonse Karr, the _ecrivain-jardinier_, who set the new vogue
+for the Palais Royal, but his interest and enthusiasm was not enough to
+resurrect it, and so in later years it has sunk lower and lower. The
+solitude of the Palais Royal has become a mockery and a solecism. It is
+virtually a _campo santo_, or could readily be made one, and this in
+spite of the fact that it occupies one of the busiest and noisiest
+quarters of the capital, a quadrangle bounded by the Rues Valois,
+Beaujolais, Montpensier and the Place du Palais Royal.
+
+The moment one enters its portal the simile accentuates and the hybrid
+shops which sell such equivocal bric-a-brac to clients of no taste and
+worse affectations carry out the idea of a cloister still further, for
+actually the clients are few, and those mostly strangers. One holds his
+breath and ambles through the corridors glad enough to escape the bustle
+of the narrow streets which surround it, but, on the other hand, glad
+enough to get out into the open again.
+
+
+
+
+CHAPTER IX
+
+THE LUXEMBOURG, THE ELYSEE AND THE PALAIS BOURBON
+
+
+The kings and queens of France were not only rulers of the nation, but
+they dominated the life of the capital as well. Upon their crowning or
+entry into Paris it was the custom to command a gift by right from the
+inhabitants. In 1389 Isabeau de Baviere, of dire memory, got sixty
+thousand _couronnes d'or_, and in 1501, and again in 1504, was presented
+with six thousand and ten thousand _livres parisis_ respectively.
+
+The king levied personal taxes on the inhabitants, who were thus forced
+to pay for the privilege of having him live among them, those of the
+professions and craftsmen, who might from time to time serve the royal
+household, paying the highest fees.
+
+It was during the period of Richelieu's ministry that Paris flowered the
+most profusely. The constructions of this epoch were so numerous and
+imposing that Corneille in his comedy "Le Menteur," first produced in
+1642, made his characters speak thus:
+
+   Dorante: Paris semble a mes yeux un pays de roman
+          *       *       *
+   En superbes palais a change ses buissons
+          *       *       *
+   Aux superbes dehors du palais Cardinal
+   Tout la ville entiere, avec pomp batie
+          *       *       *
+
+In 1701, Louis XIV divided the capital into twenty _quartiers_, or
+wards, and in 1726-1728 Louis XV built a new city wall; but it was only
+with Louis XVI that the faubourgs were at last brought within the city
+limits. Under the Empire and the Restoration but few changes were made,
+and with the piercing of the new boulevards under Napoleon III and Baron
+Haussmann the city came to be of much the same general plan that it is
+to-day.
+
+In the olden time, between the Palais de la Cite and the Louvre and the
+Palais des Tournelles, extending even to the walls of Charenton, was a
+gigantic garden, a carpet embroidered with as varied a colouring as the
+_tapis d'orient_ of the poets, and cut here and there by alleys which
+separated it into little checker-board squares.
+
+Within this maze was the celebrated Jardin Dedalus that Louis XI gave to
+Coictier, and above it rose the observatory of the savant like a signal
+tower of the Romans. This centered upon what is now the Place des
+Vosges, formerly the Place Royale.
+
+To-day, how changed is all this "intermediate, indeterminate" region!
+How changed, indeed! There is nothing vague and indeterminate about it
+to-day.
+
+The earliest of the little known Paris palaces was the Palais des
+Thermes. It may be dismissed almost in a word from any consideration of
+the royal dwellings of Paris, though it was the residence of several
+Roman emperors and two queens of France. A single apartment of the old
+palace of the Romans exists to-day--the old Roman Baths--but nothing of
+the days of the Emperor Constantius Chlorus, who founded the palace in
+honour of Julian who was proclaimed Emperor by his soldiers in 360 A.D.
+The Frankish monarchs, if they ever resided here at all, soon
+transferred their headquarters to the Palais de la Cite, the ruins
+falling into the possession of the monks of Cluny, who built the present
+Hotel de Cluny on the site.
+
+Of all the minor French palaces the Luxembourg and the Elysee are the
+most often heard of in connection with the life of modern times. The
+first is something a good deal more than an art museum, and the latter
+more than the residence for the Republican president, though the
+guide-book makers hardly think it worth while to write down the facts.
+
+The Palais du Luxembourg has been called an imitation of the Pitti
+Palace at Florence, but, beyond the fact that it was an Italian
+conception of Marie de Medici's, it is difficult to follow the
+suggestion, as the architect, Jacques Debrosse, one of the ablest of
+Frenchmen in his line, simply carried out the work on the general plan
+of the time of its building, the early seventeenth century.
+
+Its three not very extensive pavilions are joined together by a
+colonnade which encloses a rather foreboding flagged courtyard, a
+conception, or elaboration, of the original edifice by Chalgrin, in
+1804, under the orders of Napoleon. The garden front, though a
+restoration of Louis Philippe, is more in keeping with the original
+Medici plan; that, at any rate, is to its credit.
+
+To-day the Luxembourg, the Republican Palais du Senat, is but an echo of
+the four centuries of aristocratic existence which upheld the name and
+fame of its first proprietor, the Duc de Piney-Luxembourg, Prince de
+Tigry, who built it in the sixteenth century. From 1733 to 1736 the
+palace underwent important restorations and the last persons to inhabit
+it before the Revolution were the Duchesse de Brunswick, the Queen
+Dowager of Spain and the Comte de Provence, brother of Louis XVI, to
+whom it had been given by Letters Patent in 1779.
+
+[Illustration: _Palais du Luxembourg_]
+
+In 1791 the Convention thought so little of it that they made it a
+prison, and a few years later it was called again the Palais du
+Directoire, and, before the end of the century, the Palais du Consulat.
+This was but a brief glory, as Napoleon transferred his residence in
+accordance with his augmenting ambitions, to the Tuileries in the
+following year.
+
+By 1870 the edifice had become known as the Palais du Senat, then as the
+headquarters of the Prefecture of the Seine, and finally, as to-day, the
+Palais du Luxembourg, the seat of the French Senate and the residence of
+the president of that body.
+
+The principal public apartments are the Library, the "Salle des
+Seances," the "Buvette"--formerly Napoleon's "Cabinet de Travail," the
+"Salle des Pas Perdus"--formerly the "Salle du Trone," the Grand Gallery
+and the apartments of Marie de Medici. The chapel is modern and dates
+only from 1844.
+
+The Palais du Petit Luxembourg is the official residence of the
+president of the Senate and dates also from the time of Marie de Medici.
+The picture gallery is housed in a modern structure to the west of the
+Petit Luxembourg.
+
+[Illustration]
+
+The facade of the Palais du Senat is not altogether lovely and has
+little suggestion of the daintiness of the Petit Luxembourg, but,
+for all that, it presents a certain dignified pose and the edifice
+serves its purpose well as the legislative hall of the upper house.
+
+[Illustration: _The Petit Luxembourg_]
+
+The gardens of the Luxembourg form another of those favourite Paris
+playgrounds for nursemaids and their charges. It is claimed that the
+children are all little Legitimists in the Luxembourg gardens, whereas
+they are all Red Republicans at the Tuileries. One has no means of
+knowing this with certainty, but it is assumed; at any rate the
+Legitimists are a very numerous class in the neighbourhood. Another
+class of childhood to be seen here is that composed of the offsprings of
+artists and professors of the Latin quarter, and of the active tradesmen
+of the neighbourhood. They come here, like the others, for the fresh
+air, to see a bit of greenery, to hear the band play, to sail their
+boats in the basins of the great fountain and enjoy themselves
+generally.
+
+One notes a distinct difference in the dress and manners of the children
+of the gardens of the Luxembourg from those of the Tuileries and wonders
+if the breach will be widened further as they grow up.
+
+The Jardin du Luxembourg is all that a great city garden should be,
+ample, commodious, decorative and as thoroughly typical of Paris as the
+Pont Neuf. Innumerable, but rather mediocre, statues are posed here and
+there between the palace and the observatory at the end of the long,
+tree-lined avenue which stretches off to the south, the only really
+historical monument of this nature being the celebrated Fontaine de
+Medicis by Debrosse, the architect of the palace. It was a memorial to
+Marie de Medici.
+
+While one is in this quarter of Paris he has an opportunity to recall a
+royal memory now somewhat dimmed by time, but still in evidence if one
+would delve deep.
+
+As a matter of fact, royalty never had much to do with this hybrid
+quarter of Paris, though, indeed, its past was romantic enough,
+bordering as it does upon the real Latin Quarter of the students.
+Bounded on one side by the immense domain of the Luxembourg, it
+stretched away indefinitely beyond Vaugiraud, almost to Clamart and
+Sceaux.
+
+[Illustration: _The Luxembourg Gardens_]
+
+At No. 27 Boulevard Montparnasse is an elaborate seventeenth house-front
+half hidden by the "modern style" flats of twentieth century Paris. This
+relic of the _grand siecle_, with its profusion of sculptured details,
+was the house bought by Louis XIV about 1672 and given to the "widow
+Scarron," the "young and beautiful widow of the court," as a
+recompense for the devotion with which she had educated the three
+children of the Marquise de Montespan, who, in 1673, were legitimatized
+as princes of the royal house--the Duc de Maine, the Comte de Vexin and
+Mademoiselle de Mantes.
+
+Madame Scarron, who became in time Madame de Maintenon, the "_vraie
+reine du roi_," died in 1719, and the house passed to La Tour
+d'Auvergne.
+
+On this same side of the river are the Palais de l'Institut and the
+Palais Bourbon. The Palais de l'Institut, or Palais Mazarin, is hardly
+to be considered one of the domestic establishments, the dwellings of
+kings, with which contemporary Paris was graced. It was but a creation
+of Mazarin, the minister, on the site of the Hotel de Nesle, and was
+first known as the Palais des Quatre Nations, where were educated, at
+the expense of the Cardinal, sixty young men of various nationalities.
+
+The old chapel has since been transformed into the "Salle des Seances"
+of the Institut de France, the Five French Academies. The black, gloomy
+facade of the edifice, to-day, in spite of the cupola which gives a
+certain inspiring dignity, is not lovely, and tradition and sentiment
+alone give it its present interest, though it is undeniably
+picturesque.
+
+An inscription used to be on the pedestal of one of the fountains
+opposite the entrance which read:
+
+   "Superbe habitant du desert
+   En ce lieu, dis moi, que fais tu
+   --Tu le vois a mon habit vert
+   Je suis membre de l'institut."
+
+If the inscription were still there it would save the asking of a lot of
+silly questions by strangers who pass this way for the first time. The
+Palais de l'Institut is one of the sights of Paris, and its functions
+are notable, though hardly belonging to the romantic school of past
+days, for at present poets often make their entree via Montmartre's
+"Chat Noir," or are elected simply because some other candidate has been
+"_blackbouled_."
+
+Still following along the left bank of the Seine one comes to the Palais
+Bourbon, the Chambre des Deputes, as it is better known. This edifice,
+where now sit the French deputies, was built by Girardini for the
+Dowager Duchesse de Bourbon in 1722, and, though much changed during
+various successive eras, is still a unique variety of architectural
+embellishment which is not uncouth, nor yet wholly appealing. Napoleon
+remade the heavily imposing facade, so familiar to all who cross the
+river by the Pont de la Concorde, but its grimness is its charm rather
+than its grace.
+
+The structure cost its first proprietor twenty million or more francs,
+and since it has become national property the outlay has been constant.
+Everything considered it makes a poor showing; but its pseudo-Greek
+facade, were it removed, would certainly be missed in this section of
+Paris.
+
+The principal apartments are the "Salle des Pas Perdus," the "Salle des
+Seances," and the "Salle des Conferences"--where, in 1830, the Duc
+d'Orleans took the oath as king of France.
+
+A recent discovery has been made in the lumber room of this old Palais
+Bourbon, where deputies howl and shout and make laws as noisily as in
+any other of the world's parliaments.
+
+[Illustration: The THRONE of the PALAIS-BOURBON]
+
+This particular "find" was the throne constructed in 1816 for Louis
+XVIII, with its upholstering of velvet embroidered with the golden
+fleur-de-lis. The records tell that this throne also served Louis
+Philippe under the Second Empire, and also was used under the Monarchy
+of July. It was after the momentous "Quatre Setembre" that it was
+finally relegated to the garret, but now, as a historical souvenir of
+the first rank, it has been placed prominently where all who visit the
+Palais Bourbon may see it.
+
+The history of the Palais de l'Elysee has not been particularly vivid,
+though for two centuries it has played a most important part in the life
+of the capital. In later years it has served well enough the
+presidential dignity of the chief magistrate of the French Republic and
+is thus classed as a national property. Actually, since its
+construction, it has changed its name as often as it has changed its
+occupants. Its first occupant was its builder, Louis d'Auvergne, Comte
+d'Evreux, who built himself this great town house on a plot of land
+which had been given him by Louis XV. Apparently the young man had no
+means of his own for the construction of his luxurious city dwelling,
+for he refilled his coffers by marriage with the rich daughter of the
+financier Crozat.
+
+The new-made countess's mother-in-law apparently never had much respect
+for her son's choice as she forever referred to her as "the little gold
+ingot."
+
+"The ingot" served to construct the palace, however, though at the death
+of its builder, soon after, it came into the proprietorship of La
+Pompadour, who spent the sum of six hundred and fifty thousand _livres_
+in aggrandizing it. It became her town house, whither she removed when
+she grew tired of Versailles or Bagatelle.
+
+History tells of an incident in connection with a fete given at the
+Palais de l'Elysee by La Pompadour. It was at the epoch of the
+"_bergeries a la Watteau_." The blond Pompadour had the idea of
+introducing into the salons a troop of living, sad-eyed sheep, combed
+and curled like the poodles in the carriages of the fashionables in the
+Bois to-day. The quadrupeds, greatly frightened by the flood of light,
+fell into a panic, and the largest ram among them, seeing his duplicate
+in a mirror, made for it in the traditional ram-like manner. He raged
+for an hour or more from one apartment to another, followed by the whole
+flock, which committed incalculable damage before it could be turned
+into the gardens. Such was one of the costly caprices of La Pompadour.
+She had many.
+
+La Pompadour's brother, the Marquis de Menars et de Marigny, continued
+the work of embellishment of the property up to the day when Louis XV
+bought it as a dwelling for the ambassadors to his court. Its somewhat
+restricted park, ornamented with a grotto and a cascade, was at this
+time one of the curiosities of the capital.
+
+In 1773, the financier Beaujon bought the property from the king and
+added considerably to it under the direction of the architect Boullee,
+who also re-designed the gardens. Thanks to Beaujon, the wonderful
+Gobelins of to-day were hung upon the walls, and many paintings by
+Rubens, Poissin, Van Loo, Von Ostade, Murillo, Paul Potter and Joseph
+Vernet were added.
+
+The death of the financier brought the property into the hands of the
+Duchesse de Bourbon, the sister of Louis Philippe, and the mother of the
+Duc d' Enghien, who died so tragically at Vincennes a short time after.
+The duchess renamed her new possession Elysee-Bourbon and there led a
+very retired and sad life among surroundings so splendid that they
+merited a more gay existence.
+
+At the Revolution the palace became a national property, and, under the
+Consulate, was the scene of many popular fetes, it having been rented to
+a concern which arranged balls and other entertainments for the pleasure
+of all who could afford to pay. Its name was now the Hameau de
+Chantilly, and, considering that the entrance tickets cost but fifteen
+sous--including a drink--it must have proved a cheap, satisfying and
+splendid amusement for the people.
+
+This state of affairs lasted until 1805, when Murat bought it and here
+held his little court up to his departure for Naples, when, in
+gratefulness for past favours, he gave it to Napoleon. The emperor
+greatly loved this new abode, which he rechristened the Elysee-Napoleon.
+
+After his defeat at Waterloo Napoleon, limping lamely Parisward, down
+through the Forests of Compiegne and Villers-Cotterets, sought in the
+Elysee-Napoleon the repose and rest which he so much needed, the throng
+meanwhile promenading before the palace windows, shouting at the tops of
+their voices "Vive l'Empereur!" though, as the world well knew, his
+power had waned forever; the eagle's wings were broken. The throng still
+crowded the precincts of the palace, but the emperor fled secretly by
+the garden gate.
+
+On the return of the Duchesse de Bourbon from Spain the magnificent
+structure became again the Elysee-Bourbon. The duchess ceded the palace
+to the Duc and Duchesse de Berry but, at the duke's death, in 1820, his
+widow abandoned it.
+
+Some time after it was occupied by the Duc de Bordeaux, and, in 1830,
+it became one of the long list of establishments whose maintenance
+devolved upon the Civil List, though it remained practically uninhabited
+all through the reign of Louis Philippe.
+
+In 1848, the National Assembly designated the palace as the official
+residence for the presidents of the French Republic. Three years after,
+on the night of the first of December, as the last preparations were
+being made by Louis Bonaparte for the Coup d' Etat and the final
+strangling of the young republic, the residence of the president was
+transferred to the Tuileries, and the palace of the Faubourg Saint
+Honore was again left without a tenant, and served only to give
+hospitality from time to time to passing notables.
+
+After the burning of the Tuileries, and the coming of the Third
+Republic, the Elysee Palace again became the presidential residence, and
+so it remains to-day.
+
+One of the most notable of modern events connected with the Elysee
+Palace was the _diner de ceremonie_ offered by the president of the
+Republic and Madame Fallieres to Mr. and Mrs. Roosevelt in April, 1910.
+The dinner was served in the "Grand Salle des Fetes" and the music which
+accompanied the repast was furnished by the band of the _Garde
+Republicain_, beginning with the national anthem of America and
+finishing with that of France. Never had a private citizen, a foreigner,
+been so received by the first magistrate of France. The toast of
+President Fallieres was as follows: "Before this repast terminates I
+wish to profit by the occasion offered to drink the health of Monsieur
+Theodore Roosevelt, an illustrious man, a great citizen and a good
+friend of France and the cause of peace. I raise my glass to Madame
+Roosevelt who may be assured of our respectful and sympathetic homage,
+and I am very glad to be able to say to our guests that we count
+ourselves very fortunate in being allowed to meet them in person and
+show them this mark of respect."
+
+
+
+
+CHAPTER X
+
+VINCENNES AND CONFLANS
+
+[Illustration: VINCENNES UNDER CHARLES V]
+
+
+Vincennes is to-day little more than a dull, dirty Paris suburb; if
+anything its complexion is a deeper drab than that of Saint Denis, and
+to call the Bois de Vincennes a park "somewhat resembling the Bois de
+Boulogne," as do the guidebooks, is ridiculous.
+
+In reality Vincennes is nothing at all except a memory. There is to-day
+little suggestion of royal origin about the smug and murky surroundings
+of the Chateau de Vincennes; but nevertheless, it once was a royal
+residence, and the drama which unrolled itself within its walls was most
+vividly presented. A book might be written upon it, with the following
+as the chapter headings: "The Royal Residence," "The Minimes of the
+Bois de Vincennes," "Mazarin at Vincennes," "The Prisoners of the
+Donjon," "The Fetes of the Revolution," "The Death of the Duc
+d'Enghien," "The Transformation of the Chateau and the Bois."
+
+Its plots are ready-made, but one has to take them on hearsay, for the
+old chateau does not open its doors readily to the stranger for the
+reason that it to-day ranks only as a military fortress, and an
+artillery camp is laid out in the quadrangle, intended, if need be, to
+aid in the defence of Paris. This is one of the things one hears about,
+but of which one may not have any personal knowledge.
+
+The first reference to the name of Vincennes is in a ninth century
+charter, where it appears as _Vilcenna_. The foundation of the original
+chateau-fort on the present site is attributed to Louis VII, who, in
+1164, having alienated a part of the neighbouring forest in favour of a
+body of monks, built himself a suburban rest-house under shelter of the
+pious walls of their convent.
+
+Philippe Auguste, too, has been credited with being the founder of
+Vincennes; but, at all events, the chateau took on no royal importance
+until the reign of Saint Louis, who acquired the habit of dispensing
+justice to all comers seated beneath an oak in the near-by Forest of
+Joinville.
+
+The erection of the later chateau was begun by Charles, Comte de Valois,
+brother of Philippe-le-Bel; and it was completed by Philippe VI of
+Valois, and his successor, Jean-le-Bon, between the years 1337 and 1370,
+when it became an entirely new manner of edifice from what it had been
+before. It was in this chateau that was born Charles V, to whom indeed
+it owes its completion in the form best known.
+
+To-day, the outlines of the mass of the Chateau de Vincennes are
+considerably abbreviated from their former state. Originally it was
+quite regular in outline, its walls forming a rectangle flanked by nine
+towers, the great donjon which one sees to-day occupying the centre of
+one side. The chapel was begun in the reign of Francois I and terminated
+in that of Henri II. Its coloured glass, painted by Jean Cousin from the
+designs of Raphael, is notable.
+
+The chapel at Vincennes, with the Saint Chapelle of the Palais de
+Justice at Paris, ranks as one of the most exquisite examples extant of
+French Gothic architecture. It was begun in 1379, but chiefly it is of
+the sixteenth century, since it was only completed in 1552. This chapel
+of the sixteenth century, and the two side wings flanking the tower of
+the reign of Louis XIV, make the Chateau de Vincennes a most precious
+specimen of mediaeval ecclesiastical and military architecture. If
+Napoleon had not cut down the height of the surrounding walls the
+comparison would be still more favourable. In the reproduction of the
+miniature from the Book of Hours of the Duc de Berry given herein one
+sees the perfect outlines of the fourteenth century edifice.
+
+In later years, Louis XIII added considerably to the existing structure,
+but little is now to be seen of that edifice save the great tower and
+the chapel.
+
+Charles IX, whose royal edict brought forth the bloody night of Saint
+Bartholomew in 1572, fell sick two years later in the Chateau de
+Vincennes. Calling his surgeon, Ambroise Pare, to his side he exclaimed:
+"My body burns with fever; I see the mangled Huguenots all about me;
+Holy Virgin, how they mock me; I wish, Pare, I had spared them." And
+thus he died, abhorring the mother who had counselled him to commit this
+horrible deed.
+
+The donjon of Vincennes was carried to its comparatively great height
+that it might serve as a tower of observation as well as a place of last
+retreat if in an attack the outer walls of the fortress should give way.
+Here at Vincennes a certain massiveness is noted in connection with the
+donjon, though the actual ground area which it covers is not very
+great; it was not like many donjons of the time, which were virtually
+smaller chateaux or fortresses enclosed within a greater.
+
+Vincennes, in comparison with many other contemporary edifices,
+possessed a certain regularity of outline which was made possible by its
+favourable situation. When others were of fantastic form, they were
+usually so built because of the configuration of the land, or the nature
+of the soil. But here the land was flat, and, though the edifice and its
+dependencies covered no very extended area, they followed rectangular
+lines with absolute precision.
+
+As its walls were of a thickness of three metres, it was a work easy of
+accomplishment for Louis XI to turn the chateau into a Prison of State,
+a use to which the first chateau had actually been put by the shutting
+up in it of Enguerrand de Marigny. Henri IV, in 1574, passed some
+solitary hours and days within its walls, and Mirabeau did the same in
+1777. The Duc d'Enghien, under the First Empire, before his actual death
+by shooting, suffered sorely herein, while resting under an unjust
+suspicion.
+
+[Illustration: _Chateau de Vincennes_]
+
+In 1814-1815 the chateau became a great arsenal and general storehouse
+for the army. It was attacked by the Allies and besieged twice, but in
+vain. It was defended against the armies of Blucher by the Baron
+Daumesnil. Summoned to surrender his charge, "Jambe de Bois" (so called
+because he had lost a leg the year before) replied: "I will surrender
+when you surrender to me my leg." A statue to this brave warrior is
+within the chateau, and commemorates further the fact that he
+capitulated only on terms laid down by himself out of his humane regard
+for the lives of friends and foes.
+
+The ministers of Charles X, in 1830, had cause to regret the strength of
+the chateau walls; and Barbes, Blanqui and Raspail, in 1848, and various
+Republicans, who had been seized as dangerous elements of society after
+the Coup d'Etat of 1851, also here found an enforced hospitality. The
+Chateau de Vincennes had become a second Bastille.
+
+The incident of the arrest and death of the Duc d'Enghien is one of the
+most dramatic in Napoleonic history. The scene was Vincennes. Louis
+Antoine Henri de Bourbon, son of the Prince de Conde, born at Chantilly
+in 1772, became, without just reason, suspected in connection with the
+Cadoudal-Pichegreu plot, and was seized by a squadron of cavalry at the
+Schloss Ettenheim in the Duchy of Baden and conducted to Vincennes.
+Here, after a summary judgment, he was shot at night in the moat behind
+the guardhouse. The obscurity of the night was so great that a lighted
+lantern was hung around the neck of the unfortunate man that the
+soldiers might the better see the mark at which they were to shoot.
+
+Napoleon confided to Josephine, who repeated the secret to Madame de
+Remusat, that his political future demanded a _coup d'Etat_. On the
+morning of the execution, the emperor, awakening at five o'clock, said
+to Josephine: "By this time the Duc d'Enghien has passed from this
+life."
+
+The rest is history--of that apologetic kind which is not often
+recorded.
+
+In the chapel at Vincennes a commemorative tablet was placed, by the
+orders of Louis XVIII, in 1816, to mark the death of the young duke.
+
+The Bois de Vincennes is not the fashionable parade ground of the Bois
+de Boulogne. On the whole it is a sad sort of a public park, and not at
+all fashionable, and not particularly attractive, though of a vast
+extent and possessed of a profoundly historic past of far more
+significance than that of its sweet sister by the opposite gates of
+Paris.
+
+[Illustration: _A Hunt under the Walls of Vincennes_
+
+_From a Fourteenth Century Print_]
+
+It contains ten hundred and sixty-nine hectares and was due originally
+to Louis XV, who sought to have a sylvan gateway to the city from the
+east. Under the Second Empire the park was considerably transformed, new
+roads and alleys traced, and an effort made to have it equal more
+nearly the beauty of the more popular Bois de Boulogne. It occupies the
+plateau lying between the Seine and the bend in the Marne, just above
+the junction of the two rivers.
+
+There are some forty kilometres of roadway within the limits of the Bois
+de Vincennes, and a dozen kilometres or more of footpaths; but, since
+the military authorities have taken a portion for their own uses as a
+training ground, a shooting range and for the Batteries of La
+Faisanderie and Gravelle, it has been bereft of no small part of its
+former charm. There are three lakes in the Bois, the Lac de Sainte
+Mande, the Lac Daumesnil and the Lac de Gravelle.
+
+A near neighbour of Vincennes is Conflans, another poor, rent relic of
+monarchial majesty. The Chateau de Conflans was situated at the juncture
+of the Seine and Marne, but, to-day, the immediate neighbourhood is so
+very unlovely and depressing that one can hardly believe that it ever
+pleased any one's fancy, least of all that of a kingly castle builder.
+
+Banal dwellings on all sides are Conflans' chief characteristics to-day;
+but the old royal abode still lifts a long length of roof and wall to
+mark the spot where once stood the Chateau de Conflans in all its
+glory.
+
+Conflans was at first the country residence of the Archbishops of Paris,
+and Saint Louis frequently went into retreat here. When Philippe-le-Bel
+acquired the property, he promptly gave it to the Comtesse d'Artois who
+made of it one of the "_plus beaux castels du temps_." She decorated its
+long gallery, the portion of the edifice which exists to-day in the
+humble, emasculated form of a warehouse of some sort, in memory of her
+husband Othon. Here the countess held many historic receptions and
+ceremonies during which kings and princes frequently partook of her
+hospitality.
+
+[Illustration: CONFLANS from an OLD PRINT.]
+
+After the death of the countess, the French king made his residence at
+Conflans, and Charles VI, when dauphin, was also lodged here that he
+might be near the capital in case of events which might require his
+presence. A contemporary account mentions the fact that his _valet de
+chambre_ was killed by lightning at Conflans while serving his royal
+master.
+
+Conflans was the preferred suburban residence of the Princes and the
+Ducs de Bourgogne, and Philippe-le-Hardi there organized his tourneys
+and his _passes d'armes_ with great eclat, on one occasion alone
+offering one hundred and fifteen thousand _livres_ in prizes to the
+participants.
+
+This castle, for it was more castle than palace, was reputed one of the
+most magnificent in the neighbourhood of the Paris of its time,
+surrounded as it was with a resplendent garden and a forest in
+miniature, really a part of the Bois de Vincennes of to-day, where
+roamed wild boar and wolves which furnished sport of a kingly kind.
+
+The view from the terrace of the chateau must have been wonderfully
+fine, the towers and roof-tops of old Paris being silhouetted against
+the setting sun, its windows dominating the swift-flowing current of the
+two rivers at the foot of the fortress walls.
+
+The greatest event of history enacted under the walls of Conflans was
+the battle and the treaty which followed after, between Louis XI and the
+Comte de Charolais, in 1405.
+
+Commynes recounts the battle as follows: "Four thousand archers were
+sent out from Paris by the king, who fired upon the castle from the
+river bank on both sides."
+
+Bows and arrows were hardly effective weapons with which to shoot down
+castle walls, but stragglers who left themselves unprotected were from
+time to time picked off on both sides and much carnage actually ensued.
+Finally a treaty of peace was arranged, by which, at the death of
+Charles-le-Temeraire, according to usage, Louis XI absorbed the
+proprietary rights in the castle and made it a _Maison Royale_,
+bestowing it upon one of his favourites, Dame Gillette Hennequin.
+
+The kings of France about this time developed a predilection for the
+chateaux on the banks of the Loire, and Conflans was offered for sale in
+1554. Divers personages occupied it from that time on, the Marechal de
+Villeroy, the Connetable de Montmorency and, for a brief time, Cardinal
+Richelieu.
+
+It was in the Chateau de Conflans that was planned the foundation of the
+French Academy; here Moliere and his players first presented "La
+Critique de l'Ecole des Femmes"; and here, also, was held the marriage
+of La Grande Mademoiselle with the unhappy Lauzan.
+
+At the end of the reign of Louis XIV Fr. de Harlay-Chauvallon,
+Archbishop of Paris, bought the property of Richelieu, and, with the
+aid of Mansart and Le Notre, considerably embellished it within and
+without. Madame de Sevigne, in one of her many published letters, writes
+of the splendours which she saw at Conflans at this epoch.
+
+Saint-Simon, the court chronicler, mentions that the gardens were so
+immaculately kept that when the Archbishop and "La Belle" Duchesse de
+Lesdiguieres used to promenade therein they were followed by a gardener
+who, with a rake, sought to remove the traces of each footprint as soon
+as made.
+
+Later, the Cardinal de Beaumont, the persecutor of the Jansenists,
+resided here.
+
+   "Notre archeveque est a Conflans
+      C'est un grand solitaire
+         C'est un grand so
+         C'est un grand so
+       C'est un grand solitaire."
+
+The above verse is certainly banal enough, but the cardinal himself was
+a _drole_, so perhaps it is appropriate. At any rate it is contemporary
+with the churchman's sojourn at Conflans.
+
+
+
+
+CHAPTER XI
+
+FONTAINEBLEAU AND ITS FOREST
+
+[Illustration: ORIGINAL PLAN OF FONTAINEBLEAU]
+
+
+Of all the French royal palaces Fontainebleau is certainly the most
+interesting, despite the popularity and accessibility of Versailles. It
+is moreover the cradle of the French Renaissance. Napoleon called it the
+Maison des Siecles, and the simile was just.
+
+After Versailles, Fontainebleau has ever held the first place among the
+suburban royal palaces. The celebrated "Route de Fontainebleau" of
+history was as much a _Chemin du Roi_ as that which led from the capital
+to Versailles. Versailles was gorgeous, even splendid, if you will;
+but it had not the unique characteristics, nor winsomeness of
+Fontainebleau, nor ever will have, in the minds of those who know and
+love the France of monarchial days.
+
+[Illustration: From Paris to Fontainebleau]
+
+Not the least of the charm of Fontainebleau is the neighbouring forest
+so close at hand, a few garden railings, not more, separating the palace
+from one of the wildest forest tracts of modern France.
+
+The Forest of Fontainebleau is full of memories of royal rendezvous, the
+carnage of wild beasts, the "_vraie image de la guerre_," of which the
+Renaissance kings were so inordinately fond.
+
+It was from the Palace of Fontainebleau, too, that bloomed forth the
+best and most wholesome of the French Renaissance architecture. It was
+the model of all other later residences of its kind. It took the best
+that Italy had to offer and developed something so very French that even
+the Italian workmen, under the orders of Francois I, all but lost their
+nationality. Vasari said of it that it "rivalled the best work to be
+found in the Rome of its time."
+
+A charter of Louis-le-Jeune (Louis VII), dated at Fontainebleau in 1169,
+attests that the spot was already occupied by a _maison royale_ which,
+according to the Latin name given in the document was called Fontene
+Bleaudi, an etymology not difficult to trace when what we know of its
+earlier and later history is considered.
+
+Actually this _fontaine belle eau_ is found to-day in the centre of the
+Jardin Anglais, its basin and outlet being surrounded by the
+conventional stone rim or border. After its discovery, according to
+legend, this fountain became the rendezvous of the gallants and the
+poets and painters and the "sweet ladies" so often referred to in the
+chronicles of the Renaissance. Rosso, the painter, perpetuated one of
+the most celebrated of these reunions in his decorations in the Galerie
+Francois I in the palace, and Cellini represented the fair huntress
+Diana, amid the same surroundings.
+
+Under Louis-le-Jeune in 1169 was erected, in the Cour du Donjon, the
+chapel Saint-Saturnin, which was consecrated by Saint Thomas a Becket,
+then a refugee in France.
+
+Philippe Auguste and Saint Louis inhabited the palace and
+Philippe-le-Bel died here in 1314. From a letter of Charles VII it
+appears that Isabeau de Baviere had the intention of greatly adding to
+the existing chateau because of the extreme healthfulness of the
+neighbourhood. The work was actually begun but seemingly not carried to
+any great length.
+
+Such was the state of things when Francois I came into his own and,
+because of the supreme beauty of the site, became enamoured of it and
+began to erect an edifice which was to outrank all others of its class.
+The king and court made of Fontainebleau a second capital. It was a
+model residence of its kind, and gave the first great impetus to the
+Renaissance wave which rose so rapidly that it speedily engulfed all
+France.
+
+Aside from its palace and its forest, Fontainebleau early became a noble
+and a gracious town, thanks to the proximity of the royal dwelling. In
+spite of the mighty scenes enacted within its walls, the palace has ever
+posed as one of the most placid and tranquil places of royal residence
+in the kingdom.
+
+All this is true to-day, in spite of the coming of tourists in
+automobiles, and the recent establishment of a golf club with the usual
+appurtenances. Fontainebleau, the town, has a complexion quite its own.
+Its garrison and its little court of officialdom give it a character
+which even to-day marks it as one of the principal places where the
+stranger may observe the French dragoon, with _casque_ and breastplate
+and boots and spurs, at quite his romantic best, though it is apparent
+to all that the cumbersome, if picturesque, uniform is an unwieldy
+fighting costume. There was talk long ago of suppressing the corps, but
+all Fontainebleau rose up in protest. As the popular _chanson_ has it:
+"_Laissez les dragons a leur Maire_." This has become the battle cry and
+so they remain at Fontainebleau to-day, the envy of their fellows in the
+service, and the glory of the young misses of the boarding schools, who
+each Saturday are brought out in droves to see the sights.
+
+Many descriptions of Fontainebleau have been written, but the works of
+Poirson, Pfnor and Champollion-Figeac are generally followed by most
+makers of guidebooks, and, though useful, they have perpetuated many
+errors which were known to have been doubtful even before their day.
+
+The best account of Fontainebleau under Francois I is given in the
+manuscript memoir of Abbe Guilbert. Apparently an error crept into this
+admirable work, too, for it gives the date of the commencement of the
+constructions of Francois as 1514, whereas that monarch only ascended
+the throne in 1515. The date of the first works under this monarch was
+1528, according to a letter of the king himself, which began: "We, the
+court, intend to live in this palace and hunt the _'betes rousses et
+noirs qui sont dans la foret.'_"
+
+An account of Francois I and his "young Italian friends" makes mention
+of the visit of the king, in company with the Duchesse d'Etampes, to the
+studio of Serlio who was working desperately on the portico of the Cour
+Ovale. He found the artist producing a "melody of plastic beauty, garbed
+as a simple workman, his hair matted with pasty clay." He was standing
+on a scaffolding high above the ground when the monarch mounted the
+ladder. Up aloft Francois held a conference with his beloved workman
+and, descending, shouted back the words: "You understand, Maitre Serlio;
+let it be as you suggest." After the porticos, Serlio decorated the
+Galerie d'Ulysse which has since disappeared owing to the indifference
+of Louis XV and the imbecility of his friends; and always it was with
+Francois: "You understand, Maitre Serlio; it is as you wish." The
+_motif_ may have been Italian, but the impetus for the work was given by
+the _esprit_ of the French.
+
+The defeated monarch was not able to bring away from Padua any trophies
+of war; but he brought plans of chateaux, and gardens as well. He did
+more: he took the very artists and craftsmen who had produced many of
+the Italian masterpieces of the time.
+
+The tracing of the gardens at Fontainebleau, practically as they exist
+to-day, was one of Francois I's greatest pleasures. In their midst, on
+the shores of the Etang aux Carpes, was erected a tiny rest-house where
+the royal mistresses might come to repose and laugh at the jests of
+Triboulet.
+
+The edifice of Francois I is of modest proportions and of perfect unity;
+but it is with difficulty that it presents its best appearance,
+overpowered as it is by the heavier masses of the time of Henri IV, and
+suffering as it does because of the eliminations of Louis XIV and Louis
+XV when they made their additions to the palace.
+
+Under the Convention, later on, Fontainebleau's palace again suffered.
+Under the Consulate it became a barracks and a prison, and finally, not
+less terrible, were the restorations of Napoleon and Louis Philippe. A
+castle may sometimes suffer less from a siege than from a restoration.
+
+From every point of view, however, Fontainebleau remains an
+architectural document of the most profound interest and value, and,
+from the tourists' point of view, it is the most appealing of all
+European palaces of this or any other age. The expert, the artist and
+the mere curiosity-seeker all unite in their admiration in spite of the
+fact that the fabric has been denuded of many of its original beauties.
+
+[Illustration: _Palais de Fontainebleau_]
+
+First, this royal dwelling is of the most ample and effective
+proportions; second, it possesses a remarkable series of luxurious
+apartments; third, it still contains some of the finest examples of
+furniture and furnishings of Renaissance and Napoleonic times; and, in
+addition, there is also to be seen that admirable series of paintings
+which represent the School of Fontainebleau. With such an array of
+charms what does it matter if the unity of the Renaissance masterpiece
+of Francois I is qualified by later interpolations? General impression
+is the standard by which one judges the workmanship of a noble monument,
+and here it is good to an extraordinary degree.
+
+The palace of to-day sits at one end of the aristocratic little town of
+Fontainebleau. Beyond is the forest and opposite are many hotels which
+depend upon the palace as the source from which they draw their
+livelihood.
+
+The principal entrance to the palace opens out from the Place Solferino
+and gives access immediately to the Cour du Cheval Blanc of Chambiges,
+which, since that eventful day in Napoleonic history nearly a hundred
+years ago, has become better known as the Cour des Adieux. At the rear
+rises the famous horseshoe stair, certainly much better expressed in
+French as the _Escalier en Fer a Cheval_, from which the emperor took
+his farewell of his "Vieux Grognards" lined up before him, biting
+savagely at their moustaches to keep down their emotions.
+
+This Cour du Cheval Blanc acquired its name from a plaster cast of
+Marcus Aurelius's celebrated steed which was originally placed here
+under a canopy or baldaquin held aloft by colonnettes. The moulds for
+this work were brought from Venice by Primaticcio and Vignole, but it
+was never cast in bronze and the statue itself disappeared in 1626. The
+courtyard, however, still kept the name until the last of Napoleonic
+days.
+
+As a Napoleonic memory this Cour des Adieux shares popularity with the
+famous Cabinet of the Empire suite of apartments where Napoleon signed
+his abdication. Certainly most visitors will carry away the memory of
+these words as among the most vivid souvenirs of Fontainebleau.
+
+     "_Le 5 Avril, 1814, Napoleon Bonaparte signa son abdication sur
+     cette table dans le cabinet de travail du Roi, le deuxieme apres la
+     chambre a coucher a Fontainebleau._"
+
+The abdication itself (the document) is now exposed in the Galerie de
+Diane, transformed lately into the Library.
+
+On the right is the Aile Neuf, built by Louis XV, for the housing of his
+officers, on the site of the Galerie de Ulysse, originally one of the
+most notable features of the palace of Francois I. Opposite is the sober
+alignment of the Aile des Ministres, and still farther to the rear are
+the Pavillon des Aumoniers, or de l'Horloge; the Chapelle de la Trinite;
+the Pavillon des Armes; the Pavillon des Peintres; the Pavillon des
+Poels; the Galerie des Fresques; and, finally, the Pavillon des
+Reines-Meres. All of these details are of the period of Francois I save
+the last, which was an interpolation of Louis XIV.
+
+The Fer a Cheval stairway, however, most curious because of the
+difficulties of its construction, dates from the time of Louis XIII, and
+replaces the stairs built by Philibert Delorme. The tennis court, just
+before the Pavillon de l'Horloge, dates only from Louis XV.
+
+The imposing entrance court is a hundred and twelve metres in width by a
+hundred and fifty-two metres in length, and to see it as it was
+originally, before the destruction of the Galerie d'Ulysse, one must
+imagine it as closed in by a series of small pavilions with their
+frontons of colonnettes preceded only by a staircase and two drawbridges
+crossing the moat, which at that time surrounded the entire confines of
+the palace. The moat is to-day surrounded, where it still exists, by a
+balustrade, due to the rather shabby taste of Louis XV.
+
+An inner courtyard, known as the Cour de la Fontaine, is incomparably of
+finer general design than the entrance court, and the Cour Ovale,
+absolutely as Henri IV left it, is finer still. At the foot of this
+latter court is the Baptistry where were baptised, in 1606, the three
+"Enfants de France," the dauphin, afterwards Louis XIII; the Princesse
+Elizabeth, afterwards the Queen of Spain; and the Princesse de Savoie.
+
+The Cour Ovale is practically of the proportions of the ancient Manor of
+Fontaine Belle Eau, built by Robert le Pieux. There, too, Philippe
+Auguste, Saint Louis, Philippe-le-Bel, Charles V and Charles VII
+frequently resided. Francois I had no wish that this old manor should
+entirely disappear and preserved its old donjon, a relic which has since
+gone the way of many another noble fane. There are several other notable
+courts or gardens, the Cour des Offices, the Jardin de Diane, the
+Orangerie, the Cour des Princes, etc.
+
+All the original gardens were laid out anew by Louis XIV, and that of
+Diane underwent a considerable change at the hands of Napoleon, who also
+laid out a Jardin Anglais on the site of the ancient Jardin des Pins,
+where originally sprang into being the rippling Fontaine Beleau, or
+Belle Eau, which gave its name to the palace, the forest and the town.
+
+[Illustration: _Salle du Throne, Fontainebleau_]
+
+The park, as distinct from the great expanse of surrounding forest, is a
+finely shaded range of alleys, due chiefly to Henri IV, who cut the
+great canal of ornamental water and ordained the general arrangement of
+its details.
+
+The principal curiosity of the park is the famous Treille du Roy, or the
+King's Grape Vine, which, good seasons and bad, can be counted on to
+give three thousand kilos of authentic _chasselas_, grapes of the finest
+quality. One wonders who gets them: _Ou s'en vont les raisins du roi?_
+This is an interrogation that has been raised more than once in the
+French parliament.
+
+In general, the aspect of the exterior of the Palais de Fontainebleau,
+the walls themselves, the Cours, the alleyed walks are chiefly
+reminiscent of the early art of the Renaissance. Francois I is, after
+all, more in evidence than the Henris or the Napoleons. Within, the same
+is true in general, though to a less degree. The Renaissance is
+_maitresse_ within and without; the other moods are wholly subservient
+to her grace.
+
+There is hardly an apartment in all the world of palaces in France, or
+beyond the frontiers, to rank with the great Galerie Francois I at
+Fontainebleau, though indeed its proportions are modest and its lighting
+defective to-day, for Louis XV blocked up all the windows on one side.
+It remains, however, one of the richest examples of the Franco-Italian
+decoration of its era, though somewhat tarnished by the heedlessness of
+Charles X.
+
+Never were there before, nor since, its era such mythological
+wall-paintings as are here to be seen. The aspirants for the Prix de
+Rome protest each year against such subjects being set them for their
+_concours_, but their judges, recalling how effective such examples are,
+are insistent. The best examples of the School of Fontainebleau are a
+distinct variety of French painting. The veriest dabbler in art can say
+with Michelet: "There is no reminiscence of anything Italian therein."
+
+Frankly, these works were the product of secondary artists and their
+pupils. Leonardo da Vinci, too old to do anything more than direct, saw
+himself succeeded by Del Sarto, Rosso and Primaticcio. Cellini may have
+contributed, too, but his labours were doubtless blotted out to a great
+extent by the orders of the all-powerful Duchesse d'Etampes who feared
+his competition with her protege, Primaticcio. One of the masters of
+this coterie was Nicolo dell' Abbate, better known, perhaps, for his
+works painted at Bologna than for his frescoes at Fontainebleau.
+
+[Illustration]
+
+The Galerie Henri II is notable also for its decorations, the harmonious
+juxtaposition of sculpture and painting, and, although "restored" in
+late years, presents an astonishing pristine vigour. This apartment
+ranks with the Galerie Francois I, all things considered, as one of the
+chief show apartments of the palace. Its length is thirty metres, its
+breadth ten, with five ample round-headed windows letting in a flood of
+light on either side, one set giving on the Cour Ovale, and the other on
+the Parterre and the magnificent facade of the Porte Doree. The ceiling
+is broken up into octagonal _caissons_, their depths alternately laid
+with gold or silver, bearing the monogram of the monarch and his
+_devise_. The parquet is laid in divisions reproducing the design of the
+ceiling. On either side the walls are wainscoted in oak similarly
+emblazoned in gold and silver, with the initials of Diane de Poitiers,
+and of her admirer, Henri, everywhere interlaced. Again, a colossal
+monogram reproduces itself in the chimney-piece with the frescoes of
+Nicolo dell' Abbate, and fifty figures of mythological gods and heroes
+decorate the window casings.
+
+The chapel dates chiefly from the time of Henri IV, the altar and
+numerous embellishments belonging to later reigns.
+
+A certain sentiment, not a little real beauty, and much unauthenticated
+history attach themselves to the Salon Louis XIII, the Salle du Trone,
+the Apartment of Madame de Maintenon, those of Napoleon I, of Pope Pius
+VII and of Marie Antoinette.
+
+The Galerie de Diane is little reminiscent of the day of the huntress,
+being a reconstitution under the First Empire, though its decorations
+date from the Restoration, and the ceiling, and furniture, apparently of
+the best of Renaissance times, are merely copies made by Louis Philippe,
+who did not hesitate, on another occasion, to blue-wash the Salon de
+Saint Louis, and who hung worthless third-rate paintings, which even
+provincial museums of the meanest rank have since refused to house, in
+the admirably decorated apartments of the period of Francois and Henri.
+
+Fontainebleau, to-day, is but a memory of what it was, a memory by no
+means fragmentary, by no means complete; but all sufficient.
+
+Of later years there is actually little to single out in the way of
+remarkable additions or restorations. Under the Second Empire the
+Galerie Francois I was repainted, some false antiquities added as
+furnishings, and various ranges of books were stored away in the Galerie
+de Diane, having been brought from the chapel which had ceased to serve
+as the Library. This apartment was now refitted as a chapel, and, to
+supplant six wall paintings which had been removed, Napoleon III ordered
+seven canvases from the painter Schopin, illustrating the life of Saint
+Saturnin.
+
+[Illustration]
+
+Finally, the Salle de Spectacle completes the modern additions, and,
+while gaudily striking, is scarcely above the taste of a gilded cafe in
+some pompous Prefecture.
+
+Henri IV was the creator of the park of the palace, which extended as
+far as the village of Avon and absorbed all the Seigneurie de Montceau,
+of which Mi-Voie (the dairy of Catherine de Medici) occupied a part. The
+acquisition of the Seigneurie was made in 1609. Across it was cut a
+"grand canal" in imitation of that already possessed by the Chateau de
+Fleury. It was a great rarity as a garden accessory, and was more than a
+quarter of a league long and forty metres wide. Bassompierre said in his
+memoirs that Henri IV made him a wager that it could be filled with
+water in two days. It actually took eight.
+
+To the north of the park, Henri IV built, under the name of La
+Menagerie, what he called a _maison de plaisance_, but which was really
+the forerunner of the animal house at Versailles.
+
+To all these works of Henri IV in the gardens at Fontainebleau is
+attached the name of Francine. There were two brothers of the name,
+Thomas and Alexandre, and it was the latter who chiefly occupied himself
+with the Parterre, the Chaussee and the Grand Canal at Fontainebleau. In
+the Jardin de la Reine he erected the celebrated Fontaine de Diane which
+finally gave its name to the garden itself. The fountain was designed by
+Barthelemy Prieur, and was cast in 1603. The original bronzes are now in
+the Louvre, those seen at Fontainebleau to-day being later works (1684).
+
+The Forest of Fontainebleau is a dozen leagues in circumference, and of
+an area of nearly thirty-five thousand acres. Its beauty, its natural
+beauty, is unrivalled. Rocks, ravines, valleys, patriarchal oaks and
+beeches, plains, woods, glades, meadows, lawns and cliffs, all are here.
+Its population of stag and deer was practically exterminated during the
+Revolution of 1830, but nevertheless it sustained its reputation as a
+great hunting-ground for long afterwards.
+
+The Royal Hunt invariably centered at La Croix du Grand Veneur, a
+notable landmark of the forest even now, at the intersection of four
+magnificent forest roads. Its name comes from a legend of a spectral
+black huntsman who was supposed to haunt the forest, and who appeared
+for the last time, in reality or imagination, to Henri IV shortly before
+his assassination.
+
+In 1854, one of the last and most gorgeous of Fontainebleau hunts was
+given by Louis Napoleon. The emperor spent lavishly for the equipment of
+the hunt, and granted liberal stipends to the attendants that they might
+caparison themselves with some semblance of picturesque dignity; horses
+and dogs were furnished and cared for on the same liberal scale.
+
+The costuming of a hunting party under such conditions was not the least
+appealing of its picturesque elements. Three-cornered hats, gold lace,
+knee breeches, silk stockings and other costly properties, when provided
+for a single special occasion, as they were in this case, were apt to
+suggest the life of centuries long gone by rather than that of modern
+times.
+
+The Forest of Fontainebleau can best be briefly described as a
+rendezvous for tourists and "trippers," and as a vast open-air studio
+for the youthful emulators of "the men of Barbison."
+
+Historic, romantic and artistic memories and realities are on every
+hand; the march of time and progress has not dimmed them, nor thinned
+them out; the Forest of Fontainebleau remains to-day the best known and
+most delightful extent of wildwood in all the world.
+
+The chief of the well-known names associated with the Forest of
+Fontainebleau, and one which will never die, is that of Denecourt,
+called also the "Sylvain de la Foret," a mythological appellation which
+came from his abounding knowledge of its devious ways and byways. It was
+in 1841 that Denecourt began his original studies and catalogued its
+every stone and tree. He invented names and gave a historical setting to
+many a picturesque and romantic site which might not have been known at
+all had it not been for his enthusiasm.
+
+After the vogue of Denecourt all the world followed in his footsteps
+until the Parisian knew as well the Longue Rocher, the Gorges d'Apremont
+and the Gorge de Franchard as he did the Rue de la Paix or the Champs
+Elysees. Denecourt's great work, "_Promenades dans la Foret de
+Fontainebleau_" appeared in 1845, and if he is to be criticised for
+letting his fancy run away with him now and then, and for the opera
+bouffe nomenclature of many of the _caves_ and _mares_ and _chenes_ and
+"fairy-bowers" and "tables of kings," he at least has enabled a curious
+public to become better acquainted with this great forest.
+
+The flora of the Forest of Fontainebleau is remarkably varied; Denecourt
+gives seventy varieties of plants and flowers which grow and propagate
+here naturally, to which are to be added a great number of nondescript
+vines, lichens and vegetable mosses.
+
+Of the trees the list extends from the imposing and sometimes gigantic
+oaks, elms, beeches, and willows to shrubs and heather growth of the
+most humble species.
+
+A score or more of the most commonly known feathered tribes people the
+forest to-day with almost the same freedom of life and abundance as in
+monarchial times. The songsters are all there, from the robin to the
+nightingale; as well as the partridge and the celebrated indigenous
+grouse.
+
+Previous to 1830 the forest was well supplied with big game, deer and
+wild boar without number; but, in later times, as was but natural, these
+have been greatly thinned out. Rabbits and hares, to say nothing of
+foxes and the like, were formerly so abundant that, under Louis
+Philippe, it was necessary to carry out what was practically a war of
+extermination. To-day they exist, of course, but in no great numbers.
+
+Another sort of publicity has been given the Forest of Fontainebleau by
+its association with the painters of the thirties. Theodore Rousseau,
+in 1836, lived at Barbison, which at that time was but a hamlet of a few
+houses, with no encumbering hotels, garages and merry-go-rounds as
+to-day.
+
+A certain Pere Ganne kept a sort of a lodging house where artists were
+made welcome at an exceedingly modest price. Not only the really famous
+and much exploited painters of the time gained fortunes here, but those
+of a more conservative school, who never rose to really great
+distinction, also drew much of their inspiration from the neighbourhood,
+among them Hamon, Boulanger and Celestin Nanteuil.
+
+Without having to go far to hunt up their subjects, the Forest of
+Fontainebleau lying near Barbison offered to painters much that was not
+available within so small a radius elsewhere.
+
+Diaz was here already when, in 1849, Jacque and Millet arrived upon the
+scene, and at more or less frequent intervals, and for more or less
+lengthy stays, there came Corot, Dupre and Daubigny.
+
+Just what the Barbison school produced in the way of painting all the
+world knows to-day, but these men were originally the target of every
+prejudiced critic of the Boulevards and the Faubourgs. The present day
+has brought its reward and appreciation, though it is the dealers who
+have profited--the men are dead.
+
+[Illustration: _Monument to Rousseau and Millet at Barbison_]
+
+In memory of the fame brought to this little corner of the forest in
+general, and to Barbison in particular, there was placed (in 1894), at
+the entrance to the village, a bronze medallion showing the heads of
+Millet and Rousseau. It was a delicate way of showing appreciation for
+the talents of those two great men who actually founded a new school of
+painting.
+
+At the other end of the forest is the little village of Marlotte, also a
+haven for many painters of a former day, and no less so for those of
+to-day. The old forest in three quarters of a century has seen itself
+reproduced on canvas in all its moods. No painter ever lived, nor could
+all the painters that ever lived, exhaust its infinite variety. Hebert
+in his "_Dictionnaire de la Foret de Fontainebleau_" says, rightly
+enough, that, with the coming of the men of Fontainebleau and its
+"_artist-villages_" the classic type of "Paysage d'Italie" has
+disappeared from the Salon Catalogues.
+
+Art amateurs and the common people alike made the reputation of
+Fontainebleau; the mere "trippers" were brought thither by Denecourt,
+but the real forest lovers were those who were attracted by the
+masterpieces of the painters. The town of Fontainebleau has changed
+somewhat under this double influence. At Fontainebleau itself are two
+monuments in memory of painters who have passed away. One of these is to
+the memory of Decamps, who was killed by a fall from his horse while
+riding in the forest; it is a simple bust, the work of Carrier-Belleuse.
+The other is of Rosa Bonheur who died at Thomery, a little village on
+the southern border of the forest, in 1902; it is an almost life-size
+bull from a small model by the artist herself and surmounts a pedestal
+which also bears a medallion of the artist.
+
+
+
+
+CHAPTER XII
+
+BY THE BANKS OF THE SEINE
+
+
+On the highroad to Saint Germain one passes innumerable historic
+monuments which suggest the generous part that many minor chateaux
+played in the court life of the capital of old.
+
+To-day, Maisons, La Muette and Bagatelle are mere names which serve the
+tram lines for roof signs and scarcely one in a thousand strangers gives
+them a thought.
+
+The famous Bois de Boulogne and its immediate environment have for
+centuries formed a delicious verdant framing for a species of French
+country-house which could not have existed within the fortifications.
+These luxurious, bijou dwellings, some of them, at least, the caprices
+of kings, others the property of the new nobility, and still others of
+mere plebeian kings of finance, are in a class quite by themselves.
+
+Perhaps the most famous of these is the celebrated Bagatelle, within the
+confines of the Bois itself. The Chateau de Bagatelle was built in a
+month, thus meriting its name, by the Comte d'Artois, the future
+Charles X, as a result of a wager with Marie Antoinette. On its facade
+it originally bore the inscription: "_Parva sed apta_"--"small but
+convenient."
+
+[Illustration]
+
+Bagatelle occupied a corner of the royal domain and, after its
+completion, was sold to the Marquise de Monconseil, in 1747, who gave to
+this princely suburban residence a dignity worthy of its origin. Then
+came La Pompadour on the scene, the _petite bourgeoise_ who, by the
+nobility acquired by the donning of a court costume and marriage with
+the Sieur Normand d'Etioles, usurped the right to sit beside duchesses
+and be presented to the queen, if not as an equal, at least as the
+_maitresse_ of her spouse, the king.
+
+There is a legend about a meeting between La Pompadour and the king at
+Bagatelle, a meeting in which she established herself so firmly in the
+graces of the monarch that on the morrow she formed a part of the
+entourage at Versailles.
+
+After having come into the possession of the heirs of Sir Richard
+Wallace, Bagatelle finally became the property of the State.
+
+It is in the Chateau de Bagatelle that is to be installed the "Musee de
+la Parole"--"The Museum of Speech." The French, innovators ever, plan
+that Bagatelle shall become a sort of conservatory of the human voice,
+and here will be classed methodically the cylinders and disks which have
+recorded the spoken words of all sorts and conditions of men.
+
+In this Musee de la Parole will be kept phonographic records of all
+current dialects in France, the argot of the Parisian lower classes,
+etc., etc.
+
+Up to the present the evolution of the speech of man has ever been an
+enigma. No one knows to-day how Homer or Virgil pronounced their words,
+and Racine and Corneille, though of a time less remote, have left no
+tangible record of their speech. Monsieur Got of the Comedie Francaise
+believes that Louis XIV pronounced "_Moi_," "_le Roi_" as "_Moue_" "_le
+Roue_"; and thus he pronounced it in a speech which has been recorded in
+wax and is to form a part of the collection at Bagatelle.
+
+The Polo Grounds of Bagatelle, between the chateau and the Seine as it
+swirls around the Ile de la Folie, are to-day better known than this
+dainty little Paris palace; but Bagatelle will some day come to its own
+again.
+
+Neuilly bounds the Bois de Boulogne on the north, and has little of a
+royal appearance to-day, save its straight, broad streets.
+
+There is a royal incident connected with the Pont de Neuilly which
+should not be forgotten. It came about in connection with the return of
+Henri IV from Saint Germain in company with the queen and the Duc de
+Vendome. They were in a great coach drawn by four horses which insisted
+on drinking from the river in spite of the efforts of the coachman to
+prevent them.
+
+The carriage was overturned and the royal party barely escaped being
+drowned. One of the aids who accompanied them recounted the fact that
+the impromptu bath had cured the king's toothache which he had acquired
+over a rather hasty meal just before leaving the palace. "Had I
+witnessed the adventure," said the Marquis de Verneuil, "I should have
+proposed the toast: 'Le Roi Boit!" As a result of this incident a new
+bridge was constructed, though it was afterwards replaced by the present
+stone structure over which a ceaseless traffic rushes in and out of
+Paris to-day. It was this present bridge over which Louis XV was the
+first to pass on September 22, 1772.
+
+The Chateau de Neuilly was a favourite suburban residence of Louis
+Philippe. It was here that a delegation came to offer him the crown,
+and, after he had become king, he was pleased to still inhabit it and
+actually spent considerable sums upon its maintenance. When the
+Revolution of 1848 broke out, the sovereign took refuge at Neuilly and,
+when besieged by the multitude, took flight in the night of February 26
+and left his chateau in the hands of a band of ruffians who pillaged it
+from cellar to garret, finally setting it on fire. It burned like a pile
+of brushwood, and it is said that more than a hundred drunken desperados
+perished when its walls fell in. This was the tragic end of the Chateau
+de Neuilly.
+
+By a decree of the president of the later Republic the Orleans princes
+were obliged to sell all their French properties and the park of the
+Chateau de Neuilly was cut up into morsels and lots were sold to all
+comers. Thus was born that delightful Paris suburb, with the broad,
+shady avenues and comfortable houses, with which one is familiar to-day.
+The aristocratic Parc de Neuilly, with Saint James, is the only tract
+near Paris where one finds such lovely gardens and such fresh, shady
+avenues.
+
+Another quarter of Neuilly possesses a history worthy of being
+recounted. The district known as Saint James derived its name from a
+great suburban property which in 1775 belonged to Baudart de Saint
+James. He created a property almost royal in its appointments, its
+gardens having acquired an extraordinary renown. When he became a
+bankrupt a throng of persons visited the property not so much with a
+view to purchase as out of curiosity. A writer of the time says of this
+Lucullus that he was the envy of all Paris. He died soon after his ruin,
+from chagrin, and in apparent poverty, which seemingly established his
+good faith with his creditors. Under the First Empire the domain was
+bought by, or for, the Princesse Borghese, who here gave many brilliant
+fetes at which the emperor himself frequently assisted. On the occasion
+of the marriage of Napoleon to Marie Louise a series of fetes took place
+here which evoked the especially expressed encomiums of the emperor.
+
+In 1815 Wellington made it his headquarters and here had his first
+conference with Blucher. Upon Wellington quitting Saint James the
+property was pillaged by the Iron Duke's own troops and actually
+demolished by the picks and axes of the soldiery.
+
+Near the Passy entrance of the Bois is La Muette, a relic of a royal
+hunting-lodge which took its name from the royal pack of hounds
+(_meute_) which was formerly kept here.
+
+The Chateau de la Muette was the caprice of Francois I, who, when he
+came to Paris, wished to have his pleasures near at hand, and, being the
+chief partisan of the hunt among French monarchs, built La Muette for
+this purpose.
+
+The Chateau de la Muette is thus classed as one of the royal dwellings
+of France though hardly ever is it mentioned in the annals of to-day.
+
+Rebuilt by Charles IX, from his father's more modest shooting box, La
+Muette became the centre of the court of Marguerite de Navarre, the
+first wife of Henri IV; after which it served as the habitation of the
+dauphin, who became Louis XIII.
+
+During the regency, Philippe d'Orleans took possession of the chateau
+until the enthronement of Louis XV. The latter here established a little
+court within a court, best described by the French as: "_ses plaisirs
+prives_." It was this monarch who rebuilt, or at least restored, the
+chateau, and brought it to the state in which one sees it to-day.
+
+In 1783 Louis XVI, Marie Antoinette and the court took up a brief
+residence here to assist at the aerostatic experiences of De Rosier, and
+in 1787, ceasing to be a royal residence, La Muette was offered for sale
+after first having been stripped of its precious wainscotings, its
+marbles and the artistic curiosities of all sorts with which it had been
+decorated. The chateau itself now became the property of Sebastian
+Erard, who bought it for the modest price of two hundred and sixty
+thousand francs.
+
+Somewhat farther from Paris, crossing the peninsula formed by the first
+of the great bends of the Seine below the capital, is Chatou which has a
+royal reminder in its Pavilion Henri IV, or Pavillon Gabrielle, which
+the gallant, love-making monarch built for Gabrielle d'Estrees. Formerly
+it was surrounded by a vast park and must have been almost ideal, but
+to-day it is surrounded by stucco, doll-house villas, and unappealing
+apartments, until only a Gothic portal, jutting from a row of dull house
+fronts, suggests the once cosy little retreat of the lovely Gabrielle.
+
+The height of Louveciennes, above Bougival, closes the neck of the
+peninsula and from it a vast panorama of the silvery Seine and its
+_coteaux_ stretches out from the towers of Notre Dame on one hand to the
+dense forest of Saint Germain on the other.
+
+The original Chateau de Louveciennes was the property of Madame la
+Princesse de Conti, but popular interest lies entirely with the Pavilion
+du Barry, built by the architect Ledoux under the orders of Louis XV.
+
+Du Barry, having received the chateau as a gift from the king, sought to
+decorate it and reembellish it anew. Through the ministrations of a
+certain Drouais, Fragonard was commissioned to decorate a special
+pavilion outside the chateau proper, destined for the "_collations du
+Roi_."
+
+The subject chosen was the "Progres de l'Amour dans le Coeur des
+Jeunes Filles." Just where these panels are to-day no one seems to know,
+but sooner or later they will doubtless be discovered.
+
+Fragonard's famous "Escalade," or "Rendezvous," the first of the series
+of five proposed panels, depicted the passion of Louis XV for du Barry.
+The shepherdess had the form and features of that none too scrupulous
+feminine beauty, and the "_berger gallant_" was manifestly a portrait of
+the king.
+
+Perhaps these decorations at Louveciennes were elaborations of these
+smaller canvases. It seems quite probable.
+
+Sheltered snugly against the banked-up Forest of Saint Germain, on the
+banks of the Seine, is Maisons-Laffitte. Maisons is scarcely ever
+mentioned by Parisians save as they comment on the sporting columns of
+the newspapers, for horse-racing now gives its distinction to the
+neighbourhood, and the old Chateau de Maisons (with its later suffix of
+Laffitte) is all but forgotten.
+
+Francois Mansart built the first Chateau de Maisons on a magnificent
+scale for Rene de Longueil, the Superintendent of Finance. In a later
+century it made a most effectual appeal to another financier, Laffitte,
+the banker, who parcelled out the park and stripped the chateau.
+
+For a century, though, the chateau belonged to the family of its
+founder, and in 1658 the surrounding lands were made into a Marquisate.
+In 1671, on the day of the death of Philippe, Duc d'Anjou, Maisons may
+be said to have become royal for the court there took up its residence.
+Later, the Marquis de Soyecourt became the owner and Voltaire stayed
+here for a time; in fact he nearly died here from an attack of smallpox.
+
+In 1778 the property was acquired by the Comte d'Artois and the royal
+family of the time were frequent guests. The king, the queen and each
+of the princes all had their special apartments, and if Louis XVI had
+not been too busy with other projects, more ambitious ones, there is
+little doubt but that he would have given Maisons an eclat which during
+all of its career it had just missed. At the Revolution it was sold as
+National Property and the proceeds turned into public coffers.
+
+With the Empire the chateau became more royalist than ever. Marechal
+Lannes became its proprietor, then the Marechal de Montebello, who here
+received Napoleon on many occasions. With the invasion of 1815 the
+village was devastated, but the chateau escaped, owing to its having
+been made the headquarters of the invading allies. After this, in 1818,
+the banker Laffitte came into possession. He exercised a great
+hospitality and lived the life of an opulent bourgeois, but he destroyed
+most of the outbuildings and the stables built by Mansart, and cut up
+the great expanse of park which originally consisted of five hundred
+hectares. His ideas were purely commercial, not the least esthetic.
+
+The scheme of decoration within, as without, is distinctly unique. Doric
+pilasters and columns support massive cornices and round-cornered
+ceilings, with here and there antique motives and even Napoleonic
+eagles as decorative features. To-day all the apartments are deserted
+and sad. The finest, from all points of view, is that of the
+Salle-a-Manger, though indeed some of the motives are but plaster
+reproductions of the originals. The chimney-piece, however, is left, a
+pure bijou, a model of grace, more like a pagan altar than a
+comparatively modern mantel. The oratory is in the pure style of the
+Empire, and the stairway, lighted up by a curiously arranged
+dome-lantern, gives a most startling effect to the entrance vestibule.
+
+In general the design of Maisons is gracious, not at all outre, though
+undeniably grandiose; too much so for a structure covering so small an
+area. The Cour d'Honneur gives it its chief exterior distinction and the
+two pavilions have a certain grace of charm, when considered separately,
+which the ensemble somewhat lacks. The surroundings, had they not been
+ruthlessly cut up into building lots for over-ambitious Paris
+shopkeepers, would have added greatly to the present appearance of the
+property. As it is, the near-by race-course absorbed the orchard, the
+_pelouse_ and many of the garden plots.
+
+
+
+
+CHAPTER XIII
+
+MALMAISON AND MARLY
+
+
+Out from Paris, by the cobbly Pave du Roi, which a parental
+administration is only just now digging up and burying under, just
+beyond the little suburban townlet of Rueil (where the Empress Josephine
+and her daughter Hortense lie buried in the parish church), one comes to
+Malmaison of unhappy memory. It is not imposing, palatial, nor,
+architecturally, very worthy, but it is one of the most sentimentally
+historic of all French monuments of its class.
+
+Since no very definite outlines remain of any royal historical monument
+at Rueil to-day the tourist bound towards Versailles by train, tram or
+road, gives little thought to the snug little suburb through which he
+shuffles along, hoping every minute to leave the noise, bustle and
+cobblestones of Paris behind.
+
+Rueil is deserving of more consideration than this. According to Gregory
+of Tours the first race of kings had a "pleasure house" here, and called
+the neighbourhood Rotolajum. Not always did these old kings stay cooped
+up in a fortress in the Isle of Lutetia. Sometimes they went afield for
+a day in the country like the rest of us, and to them, with their slow
+means of communication and the bad roads of their day, Rueil, scarce a
+dozen miles from Notre Dame, seemed far away.
+
+Childerbert I, son of Clovis, is mentioned as having made a protracted
+sojourn at Rueil, and whatever may have existed then in the way of a
+royal residence soon after passed to the monks of Saint Denis, who here
+fished and hunted and lived a life of comfort and ease such as they
+could hardly do in their fortress-abbey. They, too, required change and
+rest from time to time, and, apparently, when they could, took it.
+
+The Black Prince burned the town and all its dependencies in 1346, and
+only an unimportant village existed when Richelieu thought to build a
+country-house here on this same charming site which had so pleased the
+first French monarchs. Richelieu did his work well, as always, and built
+an immense chateau, surrounded by a deep moat into which were turned the
+swift-flowing waters of the Seine. A vast park was laid out, in part in
+the formal manner and in part as a natural preserve, and the
+neighbourhood once more became frequented by royalty and the nobles of
+the court.
+
+Richelieu bequeathed the property to his niece, the Duchesse
+d'Aiguillon, and Louis XIV became a frequent dweller there--as a
+visitor, but he did not mind that. Louis XIV was sometimes a monarch,
+sometimes a master, and sometimes a "family friend," to put it in a
+noncommittal manner.
+
+The Revolution nearly made way with the property and the Duc de Massena,
+a few years afterwards, reestablished it after a fashion, but
+speculating land-boomers came along in turn and royal memories meaning
+nothing to them the property was cut up into streets, avenues and house
+lots.
+
+The Chateau de Malmaison, which is very near Rueil, is in quite a
+different class. Its history comes very nearly down to modern times. The
+memory of Malmaison is purely Napoleonic. Its historical souvenirs are
+many, but its actual ruins have taken on a plebeian aspect of little
+appeal in these later days.
+
+In 1792 Malmaison was sold as a piece of national merchandise to be
+turned into _ecus_, and a certain Monsieur Lecouteux de Canteleu, having
+the ready cash and a disposition to live under its roof, took over the
+proprietorship for a time. It was he who sold it to Josephine
+Beauharnais, and it was she who gave it a glory and splendour which it
+had never before possessed, gave it its complete fame, in fact.
+
+Napoleon himself, as First Consul, was passionately fond of the place,
+but by the time he had become emperor, because of unhappy memories,
+perhaps, for he had them at times, came rarely to this charming suburban
+chateau.
+
+It was at Malmaison that began the good fortune of Josephine, and it was
+at Malmaison that it flickered out like the dying flame of a candle.
+
+In a beating rain, on Saturday, December 16, 1809, Josephine quitted the
+Tuileries, her eyes still red with the tears from that last brief
+interview. She arrived at Malmaison at the end of a lugubrious day, when
+the whole place was enveloped in a thick fog. She passed the night
+almost alone in this great house where she had previously been so happy.
+She could hardly, however, have been more sad than Napoleon was that
+same night. He had shut himself up in his cabinet, remorseful and alone.
+
+The Sunday following was hardly less melancholy, for it was then
+Josephine learned that Malmaison had been endowed with an income of two
+millions for its upkeep, and that her personal belongings and the
+furnishings of her favourite apartments were already on the way thither
+from the Tuileries. The wound was not even then allowed to heal, for
+she learned that Napoleon had ordained that she was to receive the
+visits of the court as if she were still empress.
+
+[Illustration: _Chateau de Malmaison_]
+
+Napoleon had already written his former spouse to the effect that he
+would give much to see her, but that he did not feel sufficiently sure
+of himself to permit of it. This historic letter closed thus; "_Adieu,
+Josephine, bonne nuit, si tu doutais de moi, tout sera bien indigne_."
+
+On the 17th of December Napoleon actually did come to Malmaison to see
+her from whom he was officially separated. Josephine had confided to
+Madame de Remusat, her lady-in-waiting, "It almost seems as if I were
+dead, and only possessed of the faculty of remembering the past."
+
+In this Malmaison, so full of souvenirs of other days, Josephine was
+obliged to content herself, for on January 12, 1810, the religious
+marriage of Josephine and Napoleon was annulled automatically because,
+as was claimed, it had not been celebrated with the necessary
+formalities.
+
+Here at Malmaison Josephine even surrounded herself with the most
+intimate souvenirs of Napoleon: a lounging chair that he was wont to
+occupy stood in its accustomed place; his bed was always made; his sword
+hung upon the wall; his pen was in his inkwell; a book was open on his
+desk and his geographical globe--his famous _mappemond_--was in its
+accustomed place.
+
+Princes passing through Paris came to Malmaison to salute the former
+empress, and she allowed herself to become absorbed in her greenhouses
+and her dairy, the direction of her house, her receptions and her
+_petite cour_.
+
+In time all came to an end. When Napoleon returned to Paris in 1815 he
+interrogated the doctor who had cared for Josephine during the illness
+which terminated in her death the year before and asked him: "Did she
+speak of me at the last?" The doctor replied: "Often, very often." With
+emotion Napoleon replied simply: "_Bonne femme: bonne Josephine elle
+m'aimeit vraiment_."
+
+After Waterloo Napoleon himself retired to Malmaison, which had become
+the property of Josephine's children, Eugene and Hortense, and closed
+himself up in the room where she died, the library which he occupied
+when triumphant First Consul.
+
+Here he lived five mortal days of anguish preceding his departure for
+Rochefort on that agonizing exile from which he never returned.
+
+After the divorce Josephine preserved the property as her own particular
+residence, and in 1814 received there the celebrated visit of the
+allied sovereigns. History tells of a certain boat ride which she took
+on a neighbouring lake in company with the Emperor Alexander which is
+fraught with much historic sentiment. It was this imprudent excursion,
+in the cool of a May evening, that caused the death of the former
+empress three days later. It was from this bijou of a once royal abode
+that Napoleon launched his famous proclamation to the army which the
+arrogant Fouche refused to have printed in the "_Moniteur Officiel_."
+Upon this Napoleon sent the Duc de Rovigo to Paris for his passports and
+the necessary orders which would enable him to depart in peace. The next
+moment he had changed his mind, and he changed it again a few moments
+afterwards. As the result of the Prussians' advance on Paris by the left
+bank of the Seine Napoleon was obliged to accept the inevitable, and
+with the words of General Becker ringing in his ears: "_Sire, tout est
+pret_," he crossed the vestibule and entered the gardens amid a painful
+calm on his part, and an audible weeping by his former fellows in arms
+who were lined up to do him honour. He embraced Hortense passionately,
+and saluted all the personages of his party with a sympathy and emotion
+unbelievable. With an eternal adieu and a rapid step down the garden
+walk to the driveway, he at last entered the carriage which was
+awaiting him and was driven rapidly away. Some days after the Allies
+pillaged and sacked Malmaison. Its chief glory may be said to have
+departed with the Corsican.
+
+Under the Restoration, Prince Eugene had a sort of "rag sale" of what
+was left. The lands which Josephine had bought of Lecouteaux were sold
+to the highest bidder and the exotic shrubs and plants to any who would
+buy, the pictures to such connoisseurs as had the price, those that were
+left being sent to Munich. A Swedish banker now came on the scene (1826)
+and bought the property--the chateau and the park--which he preserved
+until his death twenty years later. Then it went to Queen Christina, and
+was ultimately purchased by Napoleon III.
+
+In October, 1870, during the siege of Paris, General Ducrot sought to
+make a reconnaissance by way of Malmaison, and so weak was his project
+that the equipages of the King of Prussia and his Etat Major invested
+the environs and made the property their official headquarters.
+
+Near by is a fine property called "Les Bruyeres," a royal estate of
+Napoleon III. It was created and developed by the emperor and was always
+referred to as a Parc Imperial.
+
+Perhaps the most banal of all the royal souvenirs around Paris is that
+gigantic mill-wheel known as the Machine de Marly, down by the Seine a
+few miles beyond Malmaison, just where that awful cobblestoned roadway
+begins to climb up to the plateau on which sits the chateau of Saint
+Germain and its park.
+
+Because it is of unesthetic aspect is no reason for ignoring the famous
+Machine de Marly, the great water-hoisting apparatus first established
+in the reign of Louis XIV to carry the waters of the Seine to the ponds
+and fountains of Versailles.
+
+It was a creation of a Liegois, named Rennequin Sualem, who knew not how
+to read or write, but who had a very clear idea of what was wanted to
+perform the work which Louis XIV demanded. For a fact the expense of the
+erection of the "Machine," and the cost of keeping its great wheels
+turning, were so great that it is doubtful if it was ever a paying
+proposition, but that was not a _sine qua non_ so far as the king's
+command was concerned. It had cost millions of _livres_ before its
+wheels first turned in 1682, and, if the carpenter Brunet had not come
+to the rescue to considerably augment the volume of water raised (by
+means of compressed air), it is doubtful if there would ever have been
+enough water for the fountains of Versailles to play even one day a
+year, as they do now every happy Sunday, to the delight of the
+middle-class Parisian and the droves of Cookites who gaze on them with
+wonder-opened eyes.
+
+The water was led from the Machine de Marly to Versailles by a conduit
+of thirty-six arches where, upon reaching a higher level than the
+gardens, it flowed by gravity to the fountains and basins below. This
+aqueduct was six hundred and forty-three metres long, and twenty-three
+metres high. It was a work which would have done credit to the Romans.
+
+A far greater romantic sentiment attaches itself to the royal chateau of
+Marly-le-Roi than to the utilitarian "Machine," by which the suburb is
+best known to-day.
+
+The history of Marly-le-Roi appears from the chronicles the most
+complicated to unravel of that of any of the kingly suburbs of old
+Paris, though in the days of the old locomotion a townlet twenty-six
+kilometres from the capital was hardly to be thought of as a suburb.
+
+Marly-le-Roi, at any rate, with Marly-le-Bourg and Marly-le-Chatel, was
+a royal dwelling from the days of Thierry III (678). The neighbouring
+region had been made into a countship by the early seventeenth
+century, and Louis XIV acquired it as his right in exchange for
+Neuphle-le-Chateau in 1693, incorporating it into the domain of
+Versailles.
+
+By this time it had become known as Marly-le-Roi, in distinction to the
+other bourgs, and the king built a chateau-royal, variously known as the
+Palais and the Ermitage. For a fact it was neither one thing nor the
+other, according to accepted definition, but rather a group of a dozen
+dependent pavilions distributed around a central edifice, the whole
+straggling off into infinite and manifestly unlovely proportions. It was
+as the sun surrounded by the zodiac.
+
+Isolated on a monticule by the river bank the chateau overlooked its
+brood of small pavilions, which in a way formed an _entresol_, or foyer,
+leading to the Pavilion Royal. All were connected by iron trellises, _en
+berceau_, and the effect must have been exceedingly bizarre; certainly
+theatrical.
+
+The four faces of these pavilions were frescoed, and balustrades and
+vases at the corners were the chief architectural decorations.
+
+The royal pavilion consisted within of four vestibules on the ground
+floor, each leading to a grand apartment in the centre. In each of the
+four angles was a "self-contained" apartment of three or four rooms.
+What this royal abode lacked in beauty it made up for in convenience.
+
+Each of the satellite pavilions was occupied by a high personage at
+court. The Chapel and the Corps de Garde were detached from the chateau
+proper, and occupied two flanking wings.
+
+The plans of the "Palais-Chateau-Ermitage" of Marly-le-Roi were from the
+fertile brain of Mansart, and were arranged with considerable ingenuity,
+if not taste, generously interspersed with lindens and truly magnificent
+garden plots. There was even a cascade, or rather a tumbling river
+(according to the French expression), for it fell softly over
+sixty-three marble steps, forming a sort of wrinkled sheet of water,
+which must indeed have been a very charming feature. It cost a hundred
+thousand _ecus_ to merely lead the water up to it. The expenses of the
+Pavilion de Marly, in the ten years from 1680 to 1690, amounted to
+4501279 _livres_, 12 _sols_, 3 _deniers_. From this one may well judge
+that it was no mean thing.
+
+The honour of being accounted a person of Marly in those times was
+accredited as a great distinction, for it went without saying in that
+case one had something to do with affairs of court, though one might
+only have been a "furnisher." To be a courtier of Louis XIV, or to be a
+_pensionnaire_ at Versailles, could hardly have carried more
+distinction.
+
+The court usually resided at Marly from Wednesday until Saturday, and as
+"the game" was the thing it is obvious that the stakes were high.
+
+The vogue of the day was gaming at table, and Marly, of all other
+suburban Paris palaces, was an ideal and discreet place for it. "High
+play and midnight suppers were the rule at Marly." This, one reads in
+the court chronicle, and further that: "The royal family usually lost a
+hundred thousand _ecus_ at play at each visit." One "gentleman croupier"
+gained as much as three thousand _louis_ at a single sitting.
+
+Madame de Maintenon was the real ruler of Marly in those days; she had
+appropriated the apartments originally intended for the queen, from
+which there was a private means of communication to the apartments of
+the king, and another forming a sort of private box, overlooking the
+royal chapel.
+
+Little frequented by Louis XV, and practically abandoned by Louis XVI,
+the palace at Marly was sold during the Revolution, after which it was
+stripped of its art treasures, many of which adorn the gardens of the
+Tuileries to-day; the great group of horses at the entrance to the
+Champs Elysees came from the watering place of Marly.
+
+Actually, the royal pavilion at Marly has been destroyed, and there
+remain but the most fragmentary, unformed heaps of stones to tell the
+tale of its ample proportions in the days of Louis XIV and de Maintenon.
+
+The park is to-day the chief attraction of the neighbourhood, like the
+one at Saint Cloud, which it greatly resembles. Across the park lies the
+great highway from the capital to Versailles, over which so many joyous
+cavalcades were wont to amble or gallop in the days of gallantry. The
+pace is not more sober to-day, but gaily caparisoned horses and gaudy
+coaches have given way to red and yellow "Rois des Belges," the balance
+lying distinctly in favour of the former mode of conveyance, so far as
+picturesqueness is concerned.
+
+The Foret de Marly is very picturesque, but of no great extent. Formerly
+it enclosed many shooting-boxes belonging to the nobles of the court, of
+which those of Montjoie and Desert de Retz were perhaps the most
+splendid.
+
+On the Versailles road was the Chateau de Clagny, a royal _maison de
+plaisance_, of an attractive, but trivial, aspect, though its
+architecture was actually of a certain massiveness. Its gardens and the
+disposition of its apartments pleased the king's fancy when he chose to
+pass this way, which was often. He is said to have personally spent over
+two million francs on the property. It must have been of some
+pretensions, this little heard of Chateau de Clagny, for in a single
+year ten thousand _livres_ were expended on keeping the gardens. To-day
+it is non-existent.
+
+
+
+
+CHAPTER XIV
+
+SAINT CLOUD AND ITS PARK
+
+
+The historic souvenirs of Saint Cloud and its royal palace are many and
+varied, though scarcely anything tangible remains to-day of the fabric
+so loved by Francis I and Henri II, and which was, for a fact, but a
+magnificent country-house, originally belonging to the Archbishops of
+Paris.
+
+To-day the rapid slopes of the hillsides of Saint Cloud are peopled with
+a heterogeneous mass of villas of what the Parisian calls the "coquette"
+order, but which breathe little of the spirit of romance and gallantry
+of Renaissance times. Saint Cloud is simply a "discreet" Paris suburb,
+and the least said about it, its villas and their occupants to-day, the
+better.
+
+The little village of Saint Cloud which is half-hidden in the Forest of
+Rouvray, was sacked and burned by the English after the battle of
+Poitiers, and then built up anew and occupied by the French monarchs in
+the reign of Charles VI. It was he who built the first _chateau de
+plaisance_ here in which the royal family might live near Paris and yet
+amid a sylvan environment.
+
+After this came the country-house of the Archbishops of Paris that Henri
+II, when he tired of it, tore down and erected a villa in the
+pseudo-Italian manner of the day, and built a fourteen-arch stone bridge
+across the Seine, which was a wonder of its time.
+
+The banker Gondi, after huddling close to royalty, turned over an
+establishment which he had built to Catherine de Medici, who made use of
+it whenever she wished to give a country fete or garden party. By this
+time the whole aspect of Saint Cloud was royal.
+
+It was within this house that the unhappy, and equally unpopular, Henri
+III was cut down by the three-bladed knife of the monk Jacques Clement.
+The incident is worth recounting briefly here because of the rapidity
+with which history was made by a mere fanatical knife-thrust. With the
+death of Henri III came the extinction of the House of Valois.
+
+As the king sat in the long gallery of the palace playing at cards, on
+August 1, 1589, his cloak hanging over his shoulder, a little cap with a
+flower stuck in it perched over one ear, and suspended from his neck by
+a broad blue ribbon a basketful of puppies, an astrologer by the name of
+Osman was introduced to amuse the royal party.
+
+"They tell me you draw horoscopes," remarked the king.
+
+"Sire, I will tell yours, if you will, but the heavens are
+unpropitious."
+
+       *       *       *       *       *
+
+"Just over Meudon is a star which shines very brightly," continued the
+astrologer, "it is that of Henri de Navarre. But look, your Majesty,
+another star burns brilliantly for a moment and then disappears, mayhap
+it is your own."
+
+"If ever a man had a voice hoarse with blood it is that astrologer,"
+said the king. "Away with him."
+
+"If the Valois Henri doesn't die before the setting of another sun, I'll
+never cast horoscope more," said the astrologer as he was hustled across
+the courtyard and out into the highroad.
+
+As he left, a man in a monk's garb begged to be admitted to the king's
+presence. It was Jacques Clement, the murderous monk, a wily Dominican,
+bent on a mission which had for its object the extinction of the Valois
+race.
+
+While the king was reading a letter which the monk had presented the
+latter stabbed him deep in the stomach.
+
+Swooning, the king had just time to cry out: "_Ha! le mechant moine: Il
+m'a tue, qu'on le tue._"
+
+The murderer in turn was struck down forthwith and his body, thrown from
+the windows of the palace, was _ecartele_ by four white horses, which is
+the neat French way of saying "drawn and quartered."
+
+It was an imposing cortege which wound down from the heights of Saint
+Cloud and followed the river bank to Saint Germain, Poissy and thence to
+Compiegne, conveying all that was mortal of Henri III, the least popular
+of all the race of Valois. Following close behind the bier were Henri IV
+and his suite, the favourites d'Epernon, Laschant, Dugastz and an
+impressive soldiery.
+
+After the death of Henri III, Henri de Navarre, who played a not
+unpicturesque part in the funeral ceremonies, installed himself in a
+neighbouring property known as the Maison du Tillet. Thus it is seen
+that the royal stamp of the little bourg of Saint Cloud was never
+wanting--not until the later palace and most of the town were drenched
+with kerosene and set on fire by the Prussians in 1871.
+
+The "Maison de Gondi" came, by a process of acquisition, and
+development, in time, to be the royal palace of Saint Cloud. Its
+overloaded details of Italian architecture were brightened up a bit by
+the surroundings planned and executed by the landscapist Le Notre and
+the life of the court in its suburban retreat took on a real and genuine
+brilliance which under the restraint of the gloomy walls of the Louvre
+and Paris streets could hardly have been.
+
+The brightest light shining over Saint Cloud at this time was the
+radiance shed by the brilliant Henriette d'Angleterre. Her reign as a
+social and witty queen of the court was brief. She died at the age of
+twenty-six, poisoned at the instigation of the Chevalier de Lorraine
+whom she had caused to be exiled. This was the common supposition, but
+Louis XIV was afterwards able to prove (?) his brother innocent of the
+crime.
+
+The gazettes of the seventeenth century recount many of the fetes given
+at Saint Cloud by Monsieur on the occasion of his marriage to the
+Princesse Palatine in 1671. One of the most notable of these was that
+given for Louis XIV, wherein the celebrated cascades--an innovation of
+Le Notre--were first brought to view.
+
+Mansart was called in and a great gallery intended for fetes and
+ceremonies was constructed, and Mignard was given the commission for its
+decorations.
+
+Monsieur died within the walls of the palace to which he had added so
+many embellishments, as also did his second wife. Three royalties dead
+of ambition, one might well say, for their lives were neither tranquil
+nor healthful. They went the pace.
+
+The regent journeyed out from Paris to this riverside retreat to receive
+the Tzar Peter in 1717, and in 1752 Louis Philippe d'Orleans set about
+to give a fete which should obscure the memory of all former events of a
+like nature into oblivion. How well he succeeded may be a matter of
+varying opinion, for the French have ever been prodigally lavish in the
+conduct of such affairs. At all events the occasion was a notable one.
+
+The predilection of royalty for Saint Cloud was perhaps not remarkable,
+all things considered, for it was, and is, delightfully environed, and
+about this time the Duc d'Orleans secretly married the Marquise de
+Montesson and installed her in a habitation the "_plus simple_," a mere
+shack, one fancies, costing six millions. The _nouveau riche_ of to-day
+could scarcely do the thing with more _eclat_.
+
+The Revolution took over the park of Saint Cloud and its appurtenances
+and donated them to the democracy--"for the pleasure of the people,"
+read the decree.
+
+On the eighteenth Brumaire, the First Republic blinked itself out in
+the Palais de Saint Cloud, and the Conseil de Cinq Cents installed
+itself therein under the Directoire. Bonaparte, returning from Egypt,
+arrived at Saint Cloud just as Lemercier was dissolving the Conseil.
+Seeing trouble ahead he commanded Murat to clear the chamber by drawn
+bayonets. He kept his light shining just a bit ahead of the others, did
+Napoleon. His watchword was initiative. Deputies clambered over each
+other in their haste to escape by stairway, door and window, and
+Bonaparte saw himself Consul without opposition--for ten years--for
+life.
+
+The royal residences were put at Napoleon's disposition and he wisely
+chose Saint Cloud for summer; Saint Cloud the cradle of his powers. As a
+restorer and rebuilder of crumbling monuments Napoleon was a master, as
+he was in the destructive sense when he was in the mood, and changes and
+additions were made at Saint Cloud which for comfort and convenience put
+it in the very front rank of French royal residences.
+
+In March, 1805, Pope Pius VII baptised, amid a grand pomp and ceremony,
+in the chapel of the palace, the son of Louis Bonaparte, and five years
+afterwards (April 1, 1810), the same edifice saw the religious marriage
+of Napoleon with Marie Louise.
+
+On March 31, 1810, a strange animation dominated all the confines of the
+palace. It was the occasion of the celebration of Napoleon's civil
+marriage with Marie Louise. They did not enter the capital until three
+days later for the ceremonial which united the daughter of the emperors
+who were descendants of the Roman Caesars, to the "Usurper," who was now
+for the first time to rank with the other crowned heads of Europe.
+
+The cortege which accompanied their majesties from Saint Cloud to Paris
+was a pageant which would take pages to describe. The reader of these
+lines is referred to the impassioned pages of the works of Frederic
+Masson for ample details.
+
+A hundred thousand curiosity seekers had come out from Paris and filled
+the alleys of the park to overflowing. Music and dancing were on every
+hand. Mingled with the crowd were soldiers of all ranks brilliantly clad
+in red, blue and gold. "These warriors were a picturesque, obtrusive
+lot," said a chronicler; "after having invaded Austria they acclaim the
+Austrian."
+
+In 1815 the capitulation of Paris was signed at Saint Cloud. The gardens
+were invaded by a throng which gave them more the aspect of an
+intrenched camp than a playground of princes. A brutal victor had
+climbed booted and spurred into the bed of the great Napoleon and on
+arising pulled the bee-embroidered draperies down with him and trampled
+them under foot. Was this a proper manifestation of victory?
+
+[Illustration: _The Gardens of Saint Cloud_]
+
+At this period another great fete was given in the leafy park of Saint
+Cloud, a fete which French historians have chiefly passed over silently.
+The host on this occasion was the Prince of Schwartzenburg; the
+principal guests the foreign sovereigns, gloating over the downfall of
+the capital.
+
+Louis XVIII, after removing the traces of this desolate invasion, took
+up his residence here on June 18, 1817, and in the following year built
+the stables and the lodgings of the Gardes du Corps. In 1820 the chapel
+begun by Marie Antoinette was finished and the Jardin du Trocadero
+constructed.
+
+Charles X in his brief reign built, on the site of an old Ursulin
+convent, further quarters intended for the personnel of the court. The
+ensemble ever took on an increasing importance. At this time were laid
+out the gardens between the cascades and the river, which, to some
+slight extent, to-day, suggest the former ample magnificence of the park
+as it faced upon the river. Leading through this lower garden was the
+Avenue Royale extending to the chateau.
+
+Saint Cloud for Charles X, in spite of his first interest therein, could
+have been but an unhappy memory for here he signed the abdication which
+brought about his fall. He left his palace at Saint Cloud on July 30,
+1830, at three o'clock in the morning, just as day was breaking through
+the mists of the valley. He succumbed, the last of the Bourbons, on the
+same spot on which Henri IV, as chief of the house, had first been
+saluted as king.
+
+Louis Philippe divided his time between Neuilly and Saint Cloud, and
+lent his purse and his enthusiasm to elaborating to a very considerable
+extent both the palace and its surroundings.
+
+Napoleon III made Saint Cloud his preferred summer residence, and was
+actually beneath the palace roof when the Prussian horde commenced its
+march on the capital of Clovis. He left Saint Cloud on July 27, to take
+personal command of the Army of the Rhine at Metz.
+
+As did Charles X, Napoleon III ceased to be sovereign of the French by
+enacting the final scene in his royal career in the Palais de Saint
+Cloud. Never again was the palace to give shelter to a French monarch.
+The empress left precipitately after the disaster of Woerth, and two
+months after the torch of arson made a ruin of all the splendour of the
+palace and its dependencies. The inhabitants of the little city, which
+had grown up around the confines of the palace, fled in refuge to
+Versailles during the armistice. Scarcely an old house was preserved in
+all the town.
+
+Among the _chefs d'oeuvres_ of art which perished in the flames were
+the fine works of Mignard--above all, the magnificent Galerie
+d'Apollon--the paintings of LeMoyne, Nacret, Leloir, the marines of
+Joseph Vernet and innumerable objects of art which had been gathered
+together for the embellishment of Saint Cloud by the later monarchs.
+Some few treasures were saved by the care of the Crown Prince of
+Prussia, and some vases, chairs and statues were appropriated and packed
+off across the Rhine as the plunder of war.
+
+The park of Saint Cloud to-day contains nearly four hundred hectares,
+the public park and the "preserve." From it spreads out one of the
+loveliest panoramas in the neighbourhood of Paris, alleyed vistas
+leading seemingly to infinity, with a sprinkling of statues still
+flanking the Jardin du Trocadero.
+
+From the town one enters the park through a great iron gate from the
+Place Royale, or by the Avenue du Chateau, which lands one on the
+terraces where once stood the royal palace.
+
+From Ville d'Avray and from Sevres there are also entrances to the great
+park, while to the latter runs an avenue connecting the "preserve" of
+Saint Cloud with the wilder, more rugged Bois de Meudon.
+
+Actually the surroundings of Saint Cloud's great park are the least bit
+tawdry. Here and there are booths and tents selling trashy souvenirs,
+and even more unpleasant-looking articles of food and drink, while
+fringing the river, and some of the principal avenues approaching the
+cascade, are more pretentious restaurants and eating houses which are
+royal in name and their prices if nothing else.
+
+The cascades are for the masses the chief sight of Saint Cloud to-day.
+Historical souvenir plays little part in the minds of those who only
+visit a monumental shrine to be amused, and so the falling waters of
+Saint Cloud's cascade, like the gushing torrents of Versailles'
+fountains, are the chief incentives to a holiday for tens of thousands
+of small Paris shopkeepers who do not know that a royal palace was ever
+here, much less that it had a history.
+
+There is an upper and a lower cascade, an artificial water ingeniously
+tumbled about according to the conception of one Lepaute, an architect
+of the time of the reign of Louis XIV.
+
+[Illustration: _The Cascades at Saint Cloud_]
+
+Mansart designed the architectural attributes of the lower cascade and
+scores considerably over his colleague. Circular basins and canals
+finally lead the water off to a still larger basin lower down where it
+spouts up into the air to a height of some forty odd metres at a high
+pressure. This is the official description, but it is hard to get up any
+sympathy or enthusiasm over the thing, either considered as a work of
+art or as a diversion. Frankly, then, Saint Cloud's chief charm is its
+site and its dead and half-forgotten history. The "Tramp Abroad" and
+"Rollo" and "Uncle George" knew it better than we, because in those days
+the palace existed in the real, whereas we take it all on faith and
+regret (sometimes) that we did not live a couple of generations ago.
+
+Bellevue, on the banks of the Seine, just before reaching Saint Cloud,
+owes its origin (a fact which the great restaurant of the Pavillon Bleu
+has made the most of in its advertisements), to a caprice of Madame de
+Pompadour. She liked the point of view (as do so many diners on the
+restaurant terrace to-day), and built a "_rendezvous-chateau_" on the
+hillside, a half-way house, as it were, where Louis XV might be at his
+ease on his journeyings to and from the capital.
+
+The Pompadour was able to borrow a force of eight hundred workmen from
+the king for as long as was necessary to carry out her ambitious
+projects at Bellevue and on November 25, 1750, she had a house-warming
+in her modest villa (demolished in 1794) and _pendit la cremaillere_
+with a ceremony whose chief entertainment was the dancing of a ballet
+significantly entitled "L'Amour Architect."
+
+Neighbouring upon Saint Cloud is a whole battery of hallowed, historical
+spots associated with the more or less royal dwellings of the French
+monarchs and their favourites. It was but a comparatively short distance
+to Versailles, to Saint Germain, to Maintenon and to Rambouillet, and
+the near-by Louveciennes was literally strewn with the most charming
+country-houses, which, in many cases, kings paid for and made free use
+of, though indeed the accounts for the same may not have appeared in the
+public budgets, at least not under their proper names.
+
+At the summit of the hill which gives the town its name was a chateau
+belonging originally to Madame la Princesse de Conti, and opposite the
+railway station of to-day, with its prosaic and unlovely surroundings,
+was a magnificent property belonging to Marechal Magnan, and the
+Pavillon du Barry, built by the architect Ledoux to the orders of Louis
+XV, who would provide a convenient nest in the neighbourhood of Saint
+Cloud for his latest favourite. To-day the pavilion exists in name,
+somewhat disfigured to be sure, but still reminiscent of its former
+rather garish outlines, so on the whole it cannot be said to have
+suffered greatly from an esthetic point of view. The property came
+finally to be included as a part of the estate of Pierre Laffitte,
+though still known, as it always has been, as the Pavillon du Barry.
+
+
+
+
+CHAPTER XV
+
+VERSAILLES: THE GLORY OF FRANCE
+
+   "_Glorieuse, monumentale et monotone
+   La facade de pierre effrite, au vent qui passe
+   Son chapiteau friable et sa guirlande lasse
+   En face du parc jaune ou s'accoude l'automne._
+          *       *       *
+   _Mais le soleil, aux vitres d'or qu'il incendie
+   Y semble rallumer interieurement
+   Le sursaut, chaque soir de la Gloire engourdi._"
+
+
+These lines of Henri de Regnier explain the aspect of the Versailles of
+to-day better than any others ever written.
+
+Versailles is a medley of verdure, a hierarchy of bronze and a forest of
+marble. This is an expression full of anomalies, but it is strictly
+applicable to Versailles. Its waters, jets and cascades, its monsters,
+its Tritons and Valhalla of marble statues set off the artificial
+background in a manner only to be compared to a stage setting--a
+magnificent stage setting, but still palpably unreal.
+
+Yes, Versailles is sad and grim to-day; one hardly knows why, for its
+memories still live, and the tangible evidences of most of its great
+splendour still stand.
+
+   "_Voici tes ifs en cone et tes tritons joufflus
+   Tes jardins composes ou Louis ne vient plus,
+   Et ta pompe arborant les plumes et les casques._"
+
+It is not possible to give here either an architectural review or a
+historical chronology of Versailles; either could be made the _raison
+d'etre_ for a weighty volume.
+
+The writer has confined himself merely to a more or less correlated
+series of patent facts and incidents which, of itself, shows well the
+futility of any other treatment being given of a subject so vast within
+the single chapter of a book.
+
+The history of Versailles is a story of the people and events that
+reflected the glory and grandeur of the Grand Monarque of the Bourbons
+and made his palace and its environs a more sublime expression of
+earthly pomp than anything which had gone before, or has come to pass
+since.
+
+Versailles, after its completion, became the perfect expression of the
+decadence and demoralization of the old regime. It can only be compared
+to the relations between du Barry and the young Marie Antoinette, who
+was all that was contrary to all for which the former stood.
+
+That the court of Louis XV was artificially brilliant there is no doubt.
+It was this that made it stand out from the sombre background of the
+masses of the time. It was a dazzling, human spectacle, and Versailles,
+with its extravagant, superficial charms, carried it very near to the
+brink of ruin, though even in its most banal vulgarities there was a
+certain sense of ambitious sincerity. The people of the peasant class
+lived as animals, "black, livid and scorched by the sun." The sense of
+all this penetrated readily even to Versailles, so that La Pompadour or
+Louis, one or the other of them, or was it both together, cried out
+instinctively: "_Apres nous le deluge._"
+
+The intricacies of the etiquette of the daily life of the king, his
+follies and fancies, made the history of Versailles the most brilliant
+of that of the seventeenth and eighteenth centuries--certainly it was
+the most opulent. The manners of the time were better than the morals,
+and if good taste in art and architecture had somewhat fallen there is
+no doubt but that a charming fantasy often made up for a lack of
+estheticism.
+
+The story of the palace, the park, the king and his court are so
+interwoven that no _resume_ of the story of one can ignore that of any
+of the others. The king and court present themselves against this
+background with an intimacy and a clearness which is remarkable for its
+appeal to one's curiosity. It is a long, long day of life which begins
+with the _petit lever_ and only ends with the _grand coucher_.
+
+If there was ever a Castle of Indolence and Profligacy it was
+Versailles, though indeed it is regarded as the monarchy's brilliant
+zenith. The picture is an unforgetable one to any who have ever read its
+history or seen its stones.
+
+In the year 1650, Martial de Lomenci, one of the ministers of Charles
+IX, was the Seigneur of Versailles, but at the will of Catherine de
+Medici he was summarily strangled that she might get possession of the
+property and make a present of it to her favourite, Albert de Gondi,
+Marechal de Retz.
+
+About 1625 Louis XIII had caused a small hunting pavilion to be built
+near by and, by degrees, acquiring more land took it into his head to
+erect something more magnificent in the way of a country-house, though
+the real conception of a suburban Paris palace only came with Louis XIV.
+
+Levau, the latter's architect, made the necessary alterations to the
+structure already existing, and little by little the more magnificent
+project known in its completed form to-day was evolved. War not being
+actually in progress, or imminent, great bodies of soldiery were set at
+work with pick and shovel, and at one time thirty thousand had laid
+aside their sabres and muskets for the more peaceful art of
+garden-making under the direction of Le Notre.
+
+In three decades the sum total of the chief roll of expenses of the
+palace and its dependencies reached eighty-one million, one hundred and
+fifty-one thousand, four hundred and fourteen _livres_, nine _sols_ and
+two _deniers_. It is perhaps even more interesting to know that of this
+vast sum more than three millions went for marble, twenty-one millions
+for masonry, two and a half millions for the rougher woodwork and a like
+sum for marquetry. Other additional "trifling" embellishments of
+Versailles and the Trianon during the same period counted up another six
+million and a half.
+
+The expense of these works was enormous on all sides. Water being
+required for the purpose of supplying the fountains it was proposed that
+the waters of the Eure should be turned from their original bed and made
+to pass through Versailles, and the enterprise was actually begun.
+Beyond the gardens was formed the Little Park, about four leagues
+around, and beyond this lay the Great Park, measuring twenty leagues
+around and enclosing several forest villages. The total expenses of
+these works may never have been exactly known, but they must have been
+immense, that is certain, and have even been estimated at as much as one
+billion francs. The works were so far completed in 1664 that the first
+Versailles fete was given to consecrate the palace. In honour of this
+event Moliere composed "La Princesse d'Elide."
+
+The improvements, however, were continued, and in 1670, Levau, dying,
+was succeeded by his nephew, Jules Hardouin Mansart, who wished to
+destroy the chateau of Louis XIII and erect one uniform building. Louis
+XIV, out of respect to his father, would not allow Mansart's project to
+be carried out and therefore alterations were only made in the court by
+surrounding it on the western side with the magnificent buildings now
+forming the garden front. The southern wing was subsequently added for
+the accommodation of the younger members of the royal family. In 1685
+the northern wing was erected to meet the requirements of the attaches
+of the court. The chapel was commenced in 1699 and finished in 1710.
+
+Louis XIV took up his residence in the palace in 1681 with Madame de
+Montespan, and, thirty-five years afterwards, died there, the reigning
+favourite then being Madame de Maintenon. During this time Versailles
+was the theatre of many extraordinary scenes. Louis XV was born here
+but did not take up his residence here until after he was of age. Here
+it was that his favourites Madame de Chateauroux, Madame de Pompadour
+and Madame du Barry found themselves most at home. It was under the
+direction of this monarch that the theatre was built in the northern
+wing, and was formally opened on the occasion of the marriage of the
+dauphin, Louis XVI, in 1770.
+
+Towards the end of the reign of Louis XV a new wing and pavilion were
+added on the northern side of the principal court, and it was proposed
+to build across the court a new front in the same uniform style. The
+idea could not be carried out in consequence of the troublous times of
+Louis XVI and the enormous estimated expense. The Revolution intervened
+and Versailles remained closed until it was reopened by the first
+Napoleon, who, however, was unable to take up his residence in it on
+account of his frequent campaigns afield.
+
+At the Restoration Louis XVIII, as the representative of the ancient
+monarchy, wished to make Versailles the seat of the court, but was
+deterred from doing so by the appalling previous expense. During the
+reigns of both Napoleon and Louis XVIII considerable sums were expended
+in its refurbishing so that it was not wholly a bygone when finally the
+French authorities made of it, if not the chief, at least the most
+popular _monument historique_ of all France.
+
+And yet the aspect of Versailles is sadly wearying. To-day Versailles is
+lonely; one is haunted by the silence and the bareness, if not actual
+emptiness. Only once in seven years does the old palace take on any air
+of the official life of the Republic, and that is when the two
+legislative bodies join forces and come to Versailles to vote for the
+new president. For the rest of the time it is deserted, save for the
+guardians and visitors, a memory only of the splendours imagined and
+ordained by Louis XIV.
+
+For nearly a century the master craftsmen of a nation conspired to its
+beatification, and certainly for gorgeousness and extravagance
+Versailles has merited any encomiums which have ever been expended upon
+it. It was made and remade by five generations of the cleverest workers
+who ever lived, until it took supreme rank as the greatest storehouse of
+luxurious trifles in all the world.
+
+One wearies though of the straight lines and long vistas of Versailles,
+the endless repetition of classical motives, which, while excellent,
+each in its way, do pall upon one in an inexplicable fashion. It
+possesses, however, a certain dignity and grace in every line. This is a
+fact which one can not deny. It is expressive of--well, of nothing but
+Versailles, and the part it played in the life of its time.
+
+The millions for Versailles were obtained in ways too devious and
+lengthy to follow up here. Even Louis XIV began to see before the end
+the condition into which he had led the nation, though he punished every
+one who so much as hinted at his follies. Vauban, "the hero of a hundred
+sieges," published a book on the relations between the king and court
+and the tax-paying masses and was disgraced forever after, dying within
+a few months of a broken heart that he should have been so impotent in
+attempting to bring about a reform.
+
+The life of the king at Versailles had little of privacy in it. From his
+rising to his going to bed he was constantly in the hands of his valets
+and courtiers, even receiving ambassadors of state while he was still
+half hidden by the heavy curtains of his great four-poster. They had
+probably been waiting hours in the Salon de l'OEl de Boeuf before
+being admitted to the kingly presence.
+
+It was at this period that Michael Chamillard, the Minister of War,
+introduced billiards into France by the way of Versailles. He played
+with Louis XIV and pleased him greatly, but Chamillard was no
+statesman, as history and the following lines from his epitaph point
+out.
+
+   "_Ci git le fameux Chamillard
+   De son Roy le pronotaire
+   Qui fut un heros au billard
+   Un zero dans le Ministere._"
+
+This apartment of the OEil de Boeuf was the ancient Cabi du Conseil.
+It is a wonderfully decorated apartment, and its furnishings, beyond
+those which are actually built into the fabric, are likewise of a
+splendour and good taste which it is to be regretted is not everywhere
+to be noted in the vast palace of Louis XIV. The garnishings of the
+chimney-piece alone would make any great room interesting and well
+furnished, and the great golden clock, finely chiselled and brilliantly
+burnished, is about the most satisfactory French clock one ever saw,
+marking, as it does, in its style, the transition between that of Louis
+XIV and Louis XV.
+
+Versailles, in many respects, falls far short to-day of the ideal; its
+very bigness and bareness greatly detract from the value of the historic
+souvenir which has come down to us. Changes could undoubtedly be made to
+advantage, and to this point much agitation has lately been directed,
+particularly in cutting out some of the recently grown up trees which
+have spoiled the classic vistas of the park, and the removal of those
+ugly equestrian statues which the Monarchy of July erected.
+
+Versailles only came under Napoleon's cursory regard for a brief moment.
+He hardly knew whether he would care to make his home here or not, but
+ordered his architects to make estimates for certain projects which he
+had conceived and when he got them was so staggered at their magnitude
+that he at once threw over any idea that he may have had of making it
+his dwelling.
+
+The Revolution had stripped the palace quite bare; no wonder that the
+emperor balked at the cost of putting it in order. Napoleon may have had
+his regrets for he made various allusions to Versailles while exiled at
+Saint Helena, but then it was too late.
+
+Louis Philippe took a matter-of-fact view of the possible service that
+the vast pile might render to his family and accordingly spent much
+money in a great expanse of gaudy wall decorations which are there
+to-day, thinking to make of it a show place over which might preside the
+genius of his sons.
+
+These acres of meaningless battle-pieces, Algerian warfare and what not
+are characteristic of the "Citizen-King" whose fondness for red plush,
+green repp and horsehair sofas was notable. What he did at Versailles
+was almost as great a vandalism against art as that wrought by the
+Revolution.
+
+Last scene of all:--Under Lebrun's magnificent canopied ceiling, where
+the effigy of Louis XIV is being crowned by the Goddess of Glory, and
+the German eagle sits on a denuded tree trunk screaming in agony and
+beating his wings in despair, William of Prussia was proclaimed Emperor
+of United Germany. It was almost as great an indignity as France ever
+suffered; the only greater was when the Prussians marched through the
+Arc de Triomphe de l'Etoile. That was, and is, the Frenchman's--the
+Parisian's, at all events--culminating grief.
+
+The apartment referred to is the Grand Galerie des Glaces (or Galerie
+Louis XIV), which is accredited as one of the most magnificently
+appointed rooms of its class in all the world. It is nearly two hundred
+and fifty feet in length, nearly forty feet in width, and forty-three
+feet in height. It is lighted by seventeen large arched windows, which
+correspond with arched niches on the opposite wall filled with
+mirrors--hence the name.
+
+Sixty Corinthian columns of red marble with bases and capitals of gilt
+bronze fill up the intervening wall spaces. The vaulted ceiling by
+Lebrun is divided into eighteen small compartments and nine of much
+larger dimensions, in which are allegorically represented the principal
+events in the history of Louis XIV, from the Peace of the Pyrenees to
+that of Nymeguen.
+
+It was in this splendid apartment that Louis XIV displayed the grandeur
+of royalty in its highest phase and such was the luxury of the times,
+such the splendour of the court, that its immense size could hardly
+contain the crowd of courtiers that pressed around the monarch.
+
+Several splendid fetes took place in this great room, of which those of
+the marriage of the Duc de Bourgogne in 1697 and that given on the
+arrival of Marie Antoinette were the most brilliant.
+
+Following are three pen-pictures of this historic palace.
+
+THE VERSAILLES OF LONG AGO. It was to Versailles that the _Grand Roi_
+repaired after his stern chase of the Spaniards across Flanders; through
+the wood of Saint Germain and over those awful cobblestones which
+Parisians know so well to-day rolled the gilded _carrosse_ of the king.
+He had already been announced by a runner who had also brought news of
+the latest victory. Courtiers and populace alike crowded the streets of
+the town in an effort to acquire a good place from which to see the
+arrival of the king. Intendants and servitors were giving orders on all
+sides, frequently contradictory, and gardeners were furbishing up the
+alleyed walks and flower beds in readiness for _Sa Majeste Louis
+Quatorze_ and all his little world of satellites. A majestic
+effervescence bubbled over all, and the _bourgeoisie_ enjoyed itself
+hugely, climbing even on roof-tops and gables in the town without the
+palace gates.
+
+The _Roi Soleil_ came at last to his "well-beloved city of Versailles."
+"He arrived in a cloud of golden dust," said a writer of the time, and
+any who have seen Versailles blazing and treeless in the middle of a
+long, hot summer, will know what it was like on that occasion.
+
+Cannons roared, and the sound of revelry and welcoming joy was
+everywhere to be heard.
+
+THE VERSAILLES OF YESTERDAY. The lugubrious booming of cannons came
+rolling over the meanderings of the Seine from the capital. The
+hard-heads of Paris would understand nothing; they would make flow
+never-ceasing rivers of blood. The national troops were well-nigh
+impotent; it was difficult to shoot down your own flesh and blood at any
+time; doubly so when your native land has not yet been evacuated by a
+venturesome enemy. It was the time of the Commune. Traffic at
+Versailles was of that intensity that circulation was almost impossible.
+In spite of a dismal April rain the town was full of all sorts and
+conditions of men. The animation of the crowd was feverish, but it was
+without joy. A convoy of prisoners passed between two lines of soldiers
+with drawn bayonets. They were Frenchmen, but they were Communards. It
+was but a moment before they were behind the barred doors of the
+barracks which was to be their prison, packed like a troop of sheep for
+the slaughter. Versailles itself, the palace and the town, were still
+sad. The rain still fell in torrents.
+
+THE VERSAILLES OF TO-DAY. Roses, begonias, geraniums, the last of a long
+hot summer, still shed their fragrant memories over the park of
+Versailles. In the long, sober alleys a few leaves had already dropped
+from the trees above, marking the greensward and the gravel like a
+_tapis d'orient_, red and green and gold.
+
+Flora and Bacchus in their fountains seemed less real than ever before,
+more sombre under the pale, trickling light through the trees. A few
+scattered visitors were about, sidling furtively around the Trianon, the
+Colonnade and the _Bosquet d'Apollon_; and the birds of the wood were
+even now bethinking of their winter pilgrimage. Versailles was still
+sad. The last rays of the setting sun shot forth reflected gold from the
+windows of the chateau and soon the silver blue veil of a September
+twilight came down like a curtain of gauze.
+
+Versailles, the Versailles of other days, is gone forever. Who will
+awaken its echoes in after years? When will the Trianon again awake with
+the coquetries of a queen? When will the city of the _Roi Soleil_ come
+again into its own proud splendour?
+
+The sun has set, the great iron gates of the courtyard are closed, the
+palace and all therein sleeps.
+
+"_Allon nous en d'ici: laissons la place aux ombres._"
+
+
+
+
+CHAPTER XVI
+
+THE GARDENS OF VERSAILLES AND THE TRIANONS
+
+
+Versailles without its court of marble, its fountains, its gardens and
+its park, and the attendant Grand and Petit Trianons, would hardly have
+the attraction that it has to-day.
+
+The ensemble is something of more vast and varied extent than is to be
+seen elsewhere, though its aspect has somewhat changed from what it was
+of old, and the crowds of Sunday and holiday visitors give the courts
+and alleyed walks somewhat the aspect of a modern amusement resort.
+
+The gardens of Versailles were but the framing of a princely dwelling
+created to respond to the requirements of a court which was attempting
+to do things on a grand scale. Everything was designed with most
+magnificent outlines; everything was royal, in all verity--architecture,
+garden-making, fetes, receptions and promenades. What setting, then,
+could have been more appropriate to the life of the times?
+
+Versailles, the town, had never prospered, and has never proved
+sufficiently attractive to become a popular suburb; and, though to-day
+it passed the mark of half a hundred thousand population, it never would
+have existed at all had it not been for the palace of Louis XIV.
+
+Were it not for the palace and its attributes, Versailles would have
+absolutely no memories for visitors, except such as may have lunched
+well at the Hotel des Reservoirs or the Hotel du Trianon. That is not
+everything, to be sure; but it is something, even when one is on an
+historic pilgrimage.
+
+Even in the day of Louis XVI the popular taste was changing and
+Versailles was contemptuously referred to as a world of automota, of
+cold, unfeeling statuary and of Noah's Ark trees and forests. There was
+always a certain air of self-satisfaction about it, as there is, to-day,
+when the Parisian hordes come out to see the waters play, and the
+sight-seers marvel at the mock splendour and the scraps of history doled
+out for their delectation by none-too-painstaking guardians.
+
+In spite of all this, no sober-minded student of art or history will
+ever consider Versailles, the palace and the park, as other than a
+superb and a spectacular demonstration of the taste of the times in
+which it was planned, built and lived in.
+
+Versailles was begun in 1624 by Louis XIII, who built here a humble
+hunting-lodge for the disciples of Saint Hubert of whom he was the royal
+head. So humble an erection was it that the monarch referred to it
+simply as a "_petite maison_" and paid for it out of his own pocket, a
+rare enough proceeding at that epoch.
+
+The critical Bassompierre called it a "_chetif chateau_," and
+Saint-Simon referred to it as a "house of cards." Manifestly, then, it
+was no great thing. It was, however, a comfortable country-house,
+surrounded by a garden and a more ample park.
+
+It was not Lemercier, the presiding genius of the Louvre at this time,
+but an unknown by the name of Le Roy, whom Louis XIII chose as his
+architect.
+
+Boyceau traced the original _parterres_ with a central basin at a
+crossroads of two wide avenues. Each of the four compartments thus made
+was ornamented with _broderies_ and trimmed hedges, and the open spaces
+were ingeniously filled with parti-coloured sands, or earth. A
+_parterre_ of flowers immediately adjoined the palace and rudimentary
+alleys and avenues stretched off towards the wood. Although designed by
+Boyceau, this work was actually executed by his nephew, Jacques de
+Menours, who, with difficulty, collected his pay. His books of account
+showed that in five years, from 1631 to 1636, he had drawn but once a
+year a sum varying from fifteen hundred to four thousand _livres_ while
+in the same period the king had spent on the rest of the work at
+Versailles two hundred and thirty-eight thousand _livres_, thirty-two
+_sols_, six _deniers_, nearly one million one hundred thousand francs of
+the money of to-day.
+
+The first of the outdoor embellishments of the palace at Versailles is
+the great Cour Royale, or the Cour d'Honneur, which opens out behind the
+long range of iron gates facing upon the Place d'Armes. At the foot of
+this entrance court is an extension called the Cour de Marbre. This Cour
+de Marbre, on January 5, 1757, was the scene of the infamous attack on
+Louis XV by Damiens, just as the king was starting out for the Trianon.
+
+A thick redingote saved the king's life; but for "this mere pin-prick,"
+according to Voltaire, the monarch went immediately to bed, and five
+times in succession sought absolution for his sins. Sins lay heavy even
+on royal heads in those days.
+
+Damiens was but a thick-witted, superstitious valet, who, more or less
+persecuted by the noble employers with whom he had been in service at
+various times, sought to avenge himself, not on them, but on their king,
+as the figurehead of all that was rotten in the social hierarchy. Louis,
+heretofore known as the "Bien Aime," had become suddenly unpopular
+because of the disastrous war against England and Germany, and his
+prodigal dissipation of public moneys.
+
+Stretching out behind the palace are the famous gardens, the
+_parterres_, the _tapis vert_, the fountains and the grand canal, with
+the park of the Trianons off to the right.
+
+Good fortune came to Louis XIV when he found Andre Le Notre, for it was
+he and no other who traced the general lines of the garden of the
+Versailles which was to be. He laid a generous hand upon the park and
+forest which had surrounded the manor of Louis XIII, and extended the
+garden to the furthermost limits of his ingenuity. Modifications were
+rapid, and from 1664 the _parterres_ and the greensward took on entirely
+new forms and effects. The Parterre des Reservoirs became the Parterre
+du Nord, and an alley of four rows of lindens enclosed the park on all
+sides. The Parterre a Fleurs, or the Jardin du Roy, between the chateau
+and the Orangerie, was laid out anew.
+
+By the following year the park began to take on the homogeneity which
+it had hitherto lacked. The great Rondeau, as it was called, and which
+became later the Bassin du Dragon, was excavated, and the Jardin Bas, or
+the Nouveau Parterre, with an oval depression, was also planned.
+
+[Illustration: _Cour de Marbre, Versailles_]
+
+At one end of the park was the celebrated Menagerie du Roy, where the
+rare and exotic animals collected by the monarch had "a palace more
+magnificent than the home of any other dumb animals in the world." This
+was the first period of formal garden construction at Versailles, and it
+was also the period when the first great impetus was given to sculptural
+decoration.
+
+In 1679, following a journey in Italy, Le Notre took up again the work
+on the gardens at Versailles, devoting himself to the region south of
+the palace which hitherto had been ignored. This was Le Notre's most
+prolific period.
+
+The creations at Versailles can be divided into two distinct epochs,
+that before 1670 and that coming after. After Le Notre's generous
+design, the king and queen were seemingly never satisfied with the
+endless plotting and planting which was carried on beneath the windows
+of the palace, and in many instances changed the colour schemes and even
+the outlines of Le Notre's original conceptions.
+
+The Versailles of to-day is no longer the Versailles of Louis XIII, so
+far as the actual disposition of details goes. Then there was very
+little green grass and much sand and gravel, a scheme of decoration
+which entered largely into the seventeenth century garden. This refers
+principally to the general effect, for Le Notre made much use of the
+enclosing battery of lindens, chestnuts and elms of a majestic and
+patriarchal grandeur which have since been cut and replaced by smaller
+species of trees, or not replaced at all.
+
+No sooner were the ornamental gardens planned at Versailles than the
+Potager du Roy, or fruit and vegetable garden, was created. This same
+garden exists to-day with almost its former outlines. Here a soil
+sufficiently humid, and yet sufficiently well drained, contributed not a
+little towards the success of this most celebrated of all kitchen
+gardens the world has known.
+
+The work of installing a further system of artificial drainage was
+immediately begun, and the Eaux des Suisses was created, to take the
+place of a former stagnant pool near by. Undoubtedly it was a stupendous
+work, like all the projects launched with regard to Versailles, but,
+like the others, it was brought to a speedy and successful conclusion.
+The details of the history of this royal vegetable garden are fully set
+forth in a work published in 1690 by the son of the designer, the Abbe
+Michel de la Quintinye, in two bulky volumes. "It was meet that a royal
+vegetable garden should have been designed by a 'Gentleman Gardener,'"
+said the faithful biographer in his foreword, and as such the man and
+the work are to be considered here.
+
+The work was accomplished by the combined efforts of a gracious talent
+and the expenditure of much money, put at La Quintinye's disposition by
+his royal master, who had but to put his hand deep into the coffers of
+the royal treasury to draw it forth filled with gold. Critics have said
+that La Quintinye's ability stopped with the preparation of the soil,
+and with the design of the garden, rather than with the actual
+cultivation, but at all events it was he who made the garden possible.
+
+La Quintinye adopted Arnauld d'Andilly's method of planting fruit trees
+_en espalier_ by training them against a wall-like background, and to
+accomplish this divided the garden plot, which covered an area of eight
+hectares (twenty acres), into a great number of subdivisions enclosed by
+walls, in order to multiply to as great an extent as possible the
+available space to be used for the _espaliers_. Again, these same walls
+served to shelter certain varieties which were planted close against
+them. If this Potager du Roy was not actually the first garden of its
+class so laid out, it was certainly one of the most extensive and the
+most successful up to that time.
+
+The great terraces of at least two metres in width surrounded the
+central garden, leaving a free area for the latter which approximated
+three hectares.
+
+These terraces were divided into twenty-eight compartments, forming nine
+distinct varieties of gardens.
+
+The celebrated gardener of Louis XIV sought not only to obtain fruits
+and vegetables of a superior quality and an abundant quantity, but was
+the first among his kind to produce early vegetables, or _primeurs_, in
+any considerable quantity, and, by a process of forced culture, he was
+able to put upon the table of the monarch asparagus in December, lettuce
+in January, cauliflower in March and strawberries in April. All these
+may be found at the Paris markets to-day, and at these seasons, but the
+growing of _primeurs_ for the Paris markets has become a great industry
+since the time it was first begun at Versailles.
+
+Of asparagus La Quintinye said, "It is a vegetable that only kings can
+ever hope to eat."
+
+The Potager du Roy was begun in 1678, and completed in 1683. It cost,
+all told, one million one hundred and seventy thousand nine hundred and
+eighty-three _livres_ of which four hundred and sixty-seven thousand
+three hundred and sixty-four went for constructions in brick and stone,
+walls, enclosures and drains. Its annual maintenance (1685) amounted to
+twenty thousand nine hundred and ninety-nine _livres_. The effort proved
+one of great benefit to its creator, for La Quintinye, at the completion
+of this work, received further commissions of a like nature from the
+Prince de Conde, the Duc de Montansier, Colbert, Fouquet and others.
+
+So great a marvel was this vegetable garden at Versailles that it was
+the object of a pilgrimage of the Doge of Venice in 1685, and of the
+Siamese ambassadors in the following year. The garden has been preserved
+as an adjunct to Versailles up to the present day. For two centuries its
+product went to the "Service de Bouche" of the chief of state, that is,
+the royal dinner table; but in 1875 the Minister of Agriculture
+installed there the French National Horticultural College, which to-day,
+with a widened scope, has admitted ornamental plants and trees to this
+famous garden. Nevertheless the general outlines have been preserved,
+though certain of the terraces have disappeared, as well as many of the
+walls of the original enclosure, thus reducing the number of garden
+plots; in fact but sixteen distinctly defined gardens remain, including
+the Clos aux Asperges.
+
+The general lines of the garden design of Le Notre and Boyceau at
+Versailles are to be noted to-day, but if anything the maintenance of
+the gardens is hardly the equal of what it was in the time of Louis XIV
+and a seeming disaster has fallen upon Versailles as these lines are
+being written.
+
+The military authorities have set aside, as a site for an aerostation
+camp, some twenty-five acres of the park near Rocquencourt. This is one
+of the loveliest parts, shaded by magnificent trees which, presumably,
+will have to be sacrificed, since, if left standing, they would
+certainly interfere with maneuvering with military aeroplanes,
+dirigibles and balloons.
+
+At a time when deforestation is recognized to be one of the greatest
+dangers that menace a country's prosperity, one of its consequences
+being such inundations as those which recently devastated Paris and the
+Seine valley, it is regrettable that the forest surrounding Versailles
+should be depleted.
+
+[Illustration: _The Potager du Roy, Versailles_]
+
+Furthermore, the realization of the project means a loss of revenue to
+the state which at present derives some sixty thousand francs a year
+from the farming lease of this portion of the park.
+
+Therefore, for material considerations, as well as because Versailles
+and its surroundings should be preserved intact as a noble relic of one
+of the grandest periods of French history, one of the most beautiful
+creations of French genius, the project attributed to the military
+authorities is short-sighted. To diminish the attractions of Versailles
+would certainly prove an unwise policy, as the stream of tourists, which
+is the chief source of profit to Versailles and its population, would
+inevitably be diverted to some other channel.
+
+Only a short time ago a Societe des Amis de Versailles was created for
+the purpose of safeguarding its artistic and natural beauties. The
+government gave the organization its approbation and there is something
+delightfully ironical in the fact that the military authorities of the
+same government are planning to destroy what the society, fathered by
+the Ministere des Beaux Arts, was formed to preserve.
+
+Another modern aspect of the park of Versailles was noted during the
+late winter when, after a sharp freeze, all the youth of Paris had
+seemingly gone out to Versailles for the skating only to be met by a
+freshly-posted notice which read:
+
+   Defense
+   De Patiner Par
+   Arrete du 17 Decembre, 1849
+
+
+These signs were posted here and there about the park, in the courtyard,
+on the postern gate, on trees, everywhere. The authorities were bound
+that there should be no flagrant violation of the order of 1849.
+
+"You see," said one of the park guardians, "_c'est defendu_; but as we
+are only two and the crowd is very large we can do nothing." This was
+evident. Thousands overran the Grand Canal, which at its greatest depth
+was scarcely more than a yard to the bottom, and so, despite of
+monarchial decree, Republican France still skates on the ornamental
+waters of Versailles when occasion offers.
+
+"_N'oubliez pas le petit balayeur, s'il vous plait_," was as often heard
+as "_Allez vous-en_."
+
+On the whole it was rather a picturesque sight. A thick haze hung over
+the now white "Tapis Vert," and the nude figures of the Bassin d'Apollon
+were clothed in a mantle of snow, while the white-robed statues of the
+Allee Royale, one could well believe, shivered as one passed.
+
+[Illustration: _The Bassin de Latone, Versailles_]
+
+The fountains of Versailles, the "Grands Eaux" and "Petits Eaux," which
+shoot their jets in air "semi-occasionally" for the benefit of Paris's
+"good papas" and their children, are distinctly popular features, and of
+an artistic worth neither less nor greater than most garden accessories
+of the artificial order. The fact that it costs something like ten
+thousand francs to "play" these fountains seems to be the chief memory
+which one retains of them in operation, unless it be the crowds which
+make the going and coming so uncomfortable.
+
+The Orangerie lies just below the terrace of the Parterre du Midi, and a
+thousand or more non-bearing orange trees are scattered about. They are
+descendants of fifteenth century ancestors, it is claimed--but
+doubtfully.
+
+The great basin of water known as the Eaux des Suisses was excavated by
+the Swiss Guard of Louis XIV to serve the useful purpose of irrigating
+the Potager du Roy, and as a decorative effect of great value to that
+part of the garden upon which faces the fourteen-hundred-foot front of
+the palace.
+
+Still farther off towards the Bois de Satory, after crossing the Tapis
+Vert, lie the famous Bassins de Latone and Apollon, the Bassin du
+Miroir and, finally, the Grand Canal, with one transverse branch leading
+to the Menagerie (now the government stud-farm) and the other to the
+Trianons.
+
+The satellite palaces known as the Grand and Petit Trianons are, like
+the Palace of Versailles itself, of such an abounding historical
+interest that it were futile to attempt more than a mere intimation of
+their comparative rank and aspect.
+
+The rather sprawling, one-story, horseshoe-shaped villa built by Louis
+XIV for Madame de Maintenon, and known as the Grand Trianon, was an
+architectural conception of Mansart's.
+
+It is worth remarking that the Grand Trianon, to-day, is in a more
+nearly perfect state than it has been for long past, for the
+restorations lately made have removed certain interpolations manifestly
+out of place.
+
+It is due to M. de Nolhac, the Conservateur du Musee de Versailles, that
+this happy amelioration has been brought about and that Mansart's
+admirable work is again as it was in the days of Madame de Maintenon and
+those of the later Napoleon I.
+
+[Illustration: _The Fountain of Neptune, Versailles_]
+
+In spite of all this the Trianon of to-day is not what it was in the
+eighteenth century. "Madame de Maintenon," said de Musset, "made of
+Versailles an oratory, but La Pompadour turned it into a boudoir." He
+also called the Trianon: "a tiny chateau of porcelain." It was, too, the
+boudoir of Madame de Montespan.
+
+Louis XV, too, built, or furnished, discreet boudoirs of this order on
+every hand. More than one great gallery in which his elders had done big
+things he divided and subdivided into minute apartments and papered the
+walls, or painted them, all colours of the rainbow, or hung them with
+silks or velvets.
+
+"Don't you think my little apartment shows good taste," he asked one day
+of the Comtesse de Seran at Versailles.
+
+"Not at all," she replied, "I would much rather that the walls were hung
+in blue."
+
+That particular apartment was in rose, but, since blue was the favourite
+colour of the monarch, the reply was but flattering. The next time that
+his friend, the Comtesse, appeared on the scene the apartment had all
+been done over in blue.
+
+The monarch soon began to turn his attention to the gardens. Bowers,
+labyrinths and vases and statues were inexplicably mixed as in a maze.
+He began to have the "_gout pastoral_," his biographer has said, a vogue
+that Madame du Barry and Marie Antoinette came in time to push to its
+limits.
+
+The king was too ready to admire all that was suggested, all that was
+offered, and the ultimate effect was--well, it was the opposite of what
+he hoped it to be, though doubtless he did not realize it.
+
+In the garden of the Grand Trianon is a great basin with a cascade
+flowing down over a sort of a high altar arrangement in red and white
+marble called the Buffet de l'Architecture, and evolved by Mansart. This
+architect certainly succeeded much better with his purely architectural
+conceptions than he did with interpolated decorative elements intended
+to relieve a formal landscape.
+
+The Petit Trianon, the pride of Louis XV, was designed by the architect
+Gabriel, and its reigning goddess was Marie Antoinette. Souvenirs of the
+unhappy queen are many, but the caretakers are evidently bored with
+their duties and hustle you through the apartments with scant ceremony
+that they may doze again undisturbed in their corners.
+
+[Illustration: _Petit Trianon_]
+
+The garden of the Petit Trianon is a veritable _Jardin Anglais_, that
+is, the decorative portion, where sweeps and curves, as meaningless as
+those one sees on banknotes and no more decorative, are found in
+place of the majestic lines of the formal garden when laid out after the
+French manner.
+
+[Illustration: _La Laiterie de la Reine PETIT TRIANON_]
+
+The _Hameau_, where is the dairy where the queen played housewife and
+shepherdess, is just to the rear of this bijou palace and looks stagy
+and unreal enough to be the wings and back-drop of a pastoral play.
+
+Near Versailles was the Chateau de Clagny, with a garden laid out by Le
+Notre, quite the rival of many better known. Of it Madame de Sevigne
+wrote: "It is the Palais d'Armide; you know the manner of Le Notre; here
+he has done his best."
+
+The Couvent des Recollettes, just across the Bois de Satory, was built
+by Louis XIV out of regard for the _religieux_ whom he displaced from
+an edifice which stood upon a plot which was actually needed for the
+palace gardens. The Chateaux of Noisy and Molineaux were also affiliated
+with Versailles.
+
+The rest of the surroundings and accessories of Versailles are mere
+adjunctive details of those chief features here mentioned. To catalogue
+them even would be useless since they are all set down in the
+guidebooks.
+
+
+
+
+CHAPTER XVII
+
+SAINT GERMAIN-EN-LAYE
+
+
+Saint Germain has not the popularity of Versailles, nor the charm of
+Fontainebleau, but it is more accessible than either, and, if less known
+and less visited by the general mass of tourists, it is all the more
+delightful for that.
+
+Saint Germain, the chateau, the town and the forest, possess a
+magnificent site. Behind is a wooded background, and before one are the
+meanderings of the Seine which in the summer sunlight is a panorama
+which is to be likened to no other on earth. Across the river bottom run
+the great tree-lined roadways, straight as the proverbial flight of the
+arrow, while on the horizon, looking from the celebrated terrace, one
+sees to-day the silhouetted outline of Paris with the Tour Eiffel and
+the dome of the Sacre Coeur as the culminating points.
+
+The town itself is ugly and ill-paved, and heavy-booted dragoons make a
+hideous noise as they clank along to and from the cavalry barracks all
+through the day and night. Neither are scorching automobiles making
+their ways to Trouville and Dieppe over the "Route des Quarante Sous" a
+pleasant feature. One can ignore all these things, however, for what is
+left is of a superlative charm.
+
+[Illustration: SAINT GERMAIN]
+
+Saint Germain-en-Laye in the first stages of French history was but a
+vast extent of forest which under Charlemagne came to the possession of
+the monks of the Abbaye de Saint Germain-des-Pres. The first royal
+palace here was built by King Robert in the tenth century, practically
+upon the site of the present edifice. In the eleventh century there came
+into being another royal dwelling, and in the twelfth century
+Louis-le-Gros built a chateau-fort as a protection to the royal
+residence and monastery. This did not prevent the Black Prince from very
+nearly burning them down on one of his bold raids, but by 1367, Charles
+V re-erected the "_castel_" of Saint Germain-en-Laye.
+
+The English, by coercion, induced a monk of a neighbouring establishment
+at Nanterre to deliver up a set of false keys by which the great gates
+of the castle were surreptitiously opened, and, for a time, the
+descendants of the Conqueror held possession.
+
+The establishment of Charles V in no way satisfying the artistic
+ambitions of Francis I, that monarch gave the task of reconstruction to
+the architect Pierre Chambiges, in 1539, preserving only the Saint
+Chapelle of Saint Louis and the donjon.
+
+The building must have gone forward with an extreme rapidity for at the
+architect's death, in 1544, it had reached nearly the level of the
+rooftop.
+
+Chambiges' successor was his son-in-law, Guillaume Guillain, who,
+without changing the primitive plan, completed the work in 1548.
+
+Saint Germain, above the first story, is essentially a construction of
+bricks, but the effect is even now, as Chambiges originally intended, an
+edifice with its main constructive elements of lower sustaining walls
+and buttresses of stone binding together the slighter fabric, or
+filling, above. Although it is Renaissance through and through, Saint
+Germain shows not the slightest reminiscence of anything Italian and
+must be considered entirely as an achievement of French genius.
+
+This edifice of Francis I was more a fortress than a palace in spite of
+its decorative features, and Henri II, desiring something more of a
+luxurious royal residence, began what the historians and savants know as
+the Chateau Neuf--the palace of to-day which stands high on the hill
+overlooking the winding Seine, to which seducing stream the gardens
+originally descended in terraces.
+
+Chiefly it is to Henri IV that this structure owes its distinction, for
+previously work went on but intermittently, and very slowly. Henri IV
+brought the work to completion and made the chateau his preferred and
+most prolonged place of residence, as indeed did his successor.
+
+It is the Chateau Neuf of the time of Henri IV which is to-day known as
+the Palais de Saint Germain-en-Laye. Of the Vieux Chateau only some
+fragmentary walls and piles of debris, the Pavillon Henri IV, and, in
+part, the old royal chapel remain.
+
+Actually the structure of to-day includes that part of the Hotel du
+Pavillon Henri IV which is used as a restaurant.
+
+Henri IV and Louis XIII gave Saint Germain its first great _eclat_ as a
+suburban place of sojourn, and from the comings and goings of the court
+of that time there gradually grew up the present city of twenty thousand
+inhabitants; not all of them of courtly manners, as one learns from a
+recollection of certain facts of contemporary modern history.
+
+During the days when Mazarin actually held the reins of state the court
+was frequently at Saint Germain. Louis XIV was born here, and until
+Versailles and Marly came into being he made it his principal dwelling.
+
+It was in one of the magnificent apartments, too, midway between the
+angle turrets of the facade, Louis XIII ended his unhappy existence in
+1642. His own private band of musicians played a "De Profundis" of his
+own composition to waft his soul on its long journey.
+
+The chroniclers describe one of the monarch's last conversations as
+follows: "When they transport my body to Paris after my soul has flown,
+Laporte, remember that place where the road turns under the hill; it is
+a rough road, Laporte, and will surely shake my bones sadly if the
+driver does not go slowly."
+
+Those who have journeyed out from Paris to Saint Germain by road in this
+later century will appreciate the necessity for the admonition.
+
+Louis XIV, unlike Louis XIII, detested Saint Germain beyond words,
+because the towers of the Abbaye de Saint Denis, where he was destined
+one day to be buried, were visible from the terrace. Louis XV was not so
+particular for he was so morbid that he even loved, as he claimed
+himself, the scent of new-made graves.
+
+The arrival of Anne d'Autriche and the royal family at Saint Germain
+during the war of the Fronde was one of the most dramatic incidents of
+the period. They had travelled half the night, coming from the Palais
+Royal only to find a palace awaiting them which was unheated and
+unfurnished though the time was mid-January. Always drear and gaunt it
+was immeasurably so on this occasion. Mazarin had made no provision for
+the queen's arrival; there, were neither beds, tables nor linen in their
+proper places, no servants, no attendants of any kind, only the
+guardians of the palace. The queen was obliged to take rest from her
+fatigue on a folding camp bedstead, without covering of any kind. The
+princes fared no better, actually sleeping on the floor.
+
+There were plenty of mirrors and much gold gingerbread on the walls and
+ceilings, but no furniture. The personal belongings which the court had
+brought with them were few. No one had a change of clothing even; those
+worn one day were washed the next. However the queen good-naturedly
+smiled through it all. She called it "an escapade which can hardly last
+a week."
+
+All Paris was by this time crying "_Vive la Fronde_": "_Mort a
+Mazarin_": but it proved to be something more than a little affair of a
+week, as we now know.
+
+At this period, when Anne d'Autriche was practically a prisoner at Saint
+Germain, the picture made by the old chateau against its forest
+background was undeniably more imposing than that which one sees to-day.
+The glorious forest was not then hidden by rows of banal roof-tops, and
+the dull drabs of barracks and prisons.
+
+In the warm spring mornings the glittering facade of the chateau was
+brilliant as a diamond against its setting, and the radiating avenues of
+the park leading from the famous terrace stretched out into infinite
+vistas that were most alluring. This effect, fortunately, is not wholly
+lost to-day.
+
+At night things were as idyllic as by day. The queen and her ladies,
+relieved of the dreary presence of the king who still remained at Paris,
+revelled in an unwonted freedom. Concerts, suppers and dances were the
+rule and moonlight cavalcades to the heart of the forest, or promenades
+on foot the length of the terrace, and by some romantically disposed
+couples far beyond, gave a genuine "begone, dull care" aspect to court
+life which was not at all possible in the capital.
+
+The following picture, taken from a court chronicle, might apply as well
+to-day if one makes due allowance for a refulgence of myriad lamps
+gleaming out Parisward as night draws in.
+
+"It is a rare moonlight night. The queen and her ladies have emerged
+late on the stately terrace of Henri IV which borders upon the forest
+and extends for nearly a league along the edge of the height upon which
+stands the chateau.
+
+"The queen and her brother-in-law, Gaston, Duc d'Orleans, have seated
+themselves somewhat apart from the rest beside the stone balustrade
+which overlooks the steep descent to the plain below. Vineyards line the
+hillside and the Seine flows far beneath, the fertile river-bottom rich
+with groves and orchards, villas and gardens. Still more distant sweeps
+away the great plain wrapped in dark shadows punctuated here and there
+with great splotches of moonlight. Of the great city beyond (the Paris
+of to-day, whose myriad glow-worm lights actually do lend an additional
+charm) not a vestige is to be seen. Scarcely a lantern marks the
+existence of a living soul in the vast expanse below, but the moon, high
+in the heavens, plots out the entire landscape with a wonderful
+impressiveness, and the stars topping the forest trees to the rear and
+the heights which rise on the distant horizon lend their quota of
+romanticism, and, as if by their scintillations, mark the almost
+indiscernible towers of the old Abbey of Saint Denis to the left.
+
+"'Oh, what a lovely night,' said the queen to her companion. Again it is
+the old chronicler who speaks. 'Can the world ever appear so calm and
+peaceful elsewhere?'"
+
+This Terrasse de Henri IV, so called, is one of the most splendid and
+best-known terraces in Europe, and is noted for its extent as well as
+for its marvellous point of view, the whole panorama Parisward being
+spread out before one as if on a map, a view which extends from the
+Chateau de Maisons on the left to the Aqueduct de Marly and the heights
+of Louveciennes on the right, including the Bois de Vesinet, Mont
+Valerian, Montmartre and the whole Parisian panorama as far as the
+Coteaux de Montmorency.
+
+This terrace, too, was the project and construction of Le Notre in 1672.
+It is two and a half kilometres in length and thirty metres in width,
+upheld by a stone retaining wall which is surmounted by a balustrade. It
+extends from the Pavillon Henri IV to a gun battery well within the
+confines of the forest. Entrance from the precincts of the palace is by
+the great ornamental iron gateway known as the Grille Royale, from which
+an alleyed row of lindens leads to the heart of the forest.
+
+The record of another merry party at Saint Germain is that which
+recounts that summer evening when the king and court scuttled about the
+park enjoying themselves as only royalty can--when some one else pays
+the bills. The terrace, the gravelled walks and the alleyed paths of the
+forest all led to charming and discreet rendezvous.
+
+[Illustration: _The Valley of the Seine, from the Terrace at Saint
+Germain_]
+
+So preoccupied was every one on this particular occasion that the
+merry-makers had hardly a thought for their king, who, left to his own
+devices, sought out four maids of honour gossiping in a bower, and,
+taking the mischief-loving Lauzan into his confidence, pried upon them
+in the ambush of the night. They were gossiping over the dancers at the
+ball of the night before when one of them proclaimed her fancy for the
+agility and grace of the king above all others. It was the first
+expression of "La Valliere" since she had come timidly to court. The
+rest is an idyll which is found set forth in all the history books at
+considerable length, and at this particular moment it was a genuine
+idyll, for the king had not then become the debauched roue that he was
+in later life.
+
+After Anne d'Autriche, Henriette, the widow of Charles I of England,
+found at Saint Germain a comfortable and luxurious refuge.
+
+From 1661 onward Louis XIV made frequent visits to Saint Germain and was
+so taken with the charms of the neighbourhood and the immediate site
+that he conjured six and a half million francs out of his Civil List, in
+addition to his regular stipend, for the upkeep of this palace alone.
+This was robbery: modern graft pales before this; candelabra by the
+pound and writing tables by the square yard were known before the days
+of machine politicians.
+
+James II of England, in 1688, found a hospitable refuge at Saint
+Germain, thanks to Louis XIV, and died within the palace walls in 1701,
+as did his wife, Maria d'Este, in 1718.
+
+Louis XV and Louis XVI gave Saint Germain scarce a thought, and under
+the Empire it became a cavalry school, and later, under the Restoration,
+sinking lower still, it merited only the denomination of a barracks. Its
+culminating fall arrived when it was turned into a penitentiary.
+
+Napoleon III, with finer instincts, here installed a museum, and
+restorations and rebuilding having gone on intermittently since that
+time the palace has now taken on a certain pretence to glory.
+Practically the palace in its present form is a restoration, not
+entirely a new building, but a rebuilding of an old one, first begun
+under the competent efforts of the architect Eugene Millet, who sought
+to reestablish the edifice as it was under Francis I. The great tower
+has been preserved but the corner pavilions of the period of Louis XIV
+have been demolished in accord with the carrying out of this plan.
+
+For forty years Saint Germain has been in a state of restoration, and
+like the restoration of Pierrefonds it has swallowed up fantastic sums.
+The western facade has been rebuilt from the chapel to the entrance
+portal and the last of Mansart's pavilions, which he built to please
+either his own fancy or that of Louis XIV, have been demolished. Mansart
+himself made way with the old _tourelles_ and the balustrade which
+rounded off the angles of the walls of the main buildings and
+substituted a series of heavy, ugly _maisonettes_, more like the
+bastions of a fortress than any adjunct to a princely dwelling.
+
+The courtyard of the chateau is curiously disposed; "so that it may
+receive the sun at all times," was the claim of its designer. It, too,
+has been brought back to the state in which it was originally conceived
+and shorn of its encumbering outhouses and odds and ends which served
+their purposes well enough when it was a barracks or a prison, but which
+were a desecration to anything called by so dignified a name as a
+chateau or a palace. This courtyard is to-day as it was when the lords
+and ladies in the train of Charles IX strolled and even gambolled
+therein.
+
+The Chapelle de Saint Louis (1240) is in every way remarkable,
+especially with respect to its great rose-window, which was found by
+Millet to have been walled up by Louis XIV.
+
+The military museum of to-day, which is enclosed by the palace walls,
+possesses a remarkable collection of its kind, but has no intimate lien
+upon the history of the palace.
+
+The _parterre_ before the palace is cut off from the forest of Saint
+Germain by three ornate iron gates. It was relaid, a transformation from
+designs originally conceived in 1676, by Le Notre, modified in 1750 and
+much reduced in size and beauty in the nineteenth century, though later
+enlarged by taking three hectares of ground from the forest and turning
+them into the accepted form of an English garden.
+
+A peninsula of a superficial area of over ten thousand acres snugly
+enfolded in one of the great horseshoe bends of the Seine contains the
+Foret de Saint Germain. A line drawn across the neck of the peninsula
+from Saint Germain to Poissy, following the Route de Poissy, completely
+cuts off this tongue of land which is as wild and wooded to-day as in
+the times of Francis, the Henris and the Louis.
+
+The _routes_ and _allees_ of the forest are traced with regularity and
+precision, and historians have written them down as of a length of
+nearly four hundred leagues, a statement which a glance at any map of
+the forest will well substantiate.
+
+High upon its plateau sits this historic wildwood, for the most part of
+a soil dry and sandy, with here and there some great _mamelon_
+(Druidical or Pagan, as the case may be) rising somewhat above the
+average level. Francis I, huntsman and lover of art and nature, did
+much to preserve this great forest, and Louis XIV in his time developed
+its system of roads and paths, "chiefly to make hunting easy," says
+history, though it is difficult to follow this. At all events the forest
+remains to-day the most extensive unspoiled breathing-spot of its class
+near Paris.
+
+Within this maze of paths and alleys are many famed historic spots, the
+Chene Saint Fiacre, the Croix de Noailles, the Croix Saint Simon, the
+Croix du Main (erected in 1709 in honour of the son of Louis XIV), the
+Etoile des Amazones, the Patte d'Oie, the Chene du Capitaine and many
+more which are continually referred to in the history of the palace, the
+forest of Saint Germain-en-Laye, and of the Abbaye de Poissy.
+
+The forest is not wholly separated from the mundane world for
+occasionally a faint echo of the Rouen railway is heard, a toot from a
+river tug-boat bringing coal up-river to Paris, the strident notes of
+automobile horns, or that of a hooting steam-tram which scorches along
+the principal roadway over which state coaches of kings and courtiers
+formerly rolled. The contrast is not particularly offensive, but the
+railway threatens to make further inroads, so one hardly knows the
+future that may be in store for the patriarch oaks and elms and
+chestnuts which make up this secular wildwood. Their ages may not in
+all cases approach those of the great Fontainebleau trees, and in point
+of fact the forest is by no means as solitary, nor ever was. One of the
+most celebrated, certainly one of the most spectacular, duels of history
+took place in the park at Saint Germain-en-Laye.
+
+Gui Chabot de Jarnac lived a prodigal and profligate life at the
+expense--it was said--of the favours of the Duchesse d'Etampes. The
+dauphin, Henri, making an accusation, deemed wholly uncalled for, a
+"_duel judiciaire_" took place, with La Chataigneraie as the dauphin's
+substitute as adversary of de Jarnac who sought no apology but combat.
+
+It was because Henri meantime had become king and issued his first
+Letters Patent to his council concerning the "_duel judiciaire_,"
+whereby he absolved himself of the right to partake, that he appointed
+his dear friend Francois de Vivonne, "Seigneur de la Chataigneraie," to
+play the role for him.
+
+Unfortunately the young man could not justify by victory the honour of
+his king and before the monarch and the assembled court he was laid low
+by his adversary.
+
+This was one of the last of the "_duels judiciaires_" in France. What
+Saint Louis and Philippe-le-Bel had vainly sought to suppress, the
+procedure having cost at least a hundred thousand _livres_, was
+practically accomplished by Henri II by a stroke of the pen.
+
+
+
+
+CHAPTER XVIII
+
+MAINTENON
+
+
+Out from Paris, on the old Route d'Espagne, running from the capital to
+the frontier, down which rolled the royal corteges of old, lie Maintenon
+and its famous chateau, some sixty odd kilometres from Paris and twenty
+from Rambouillet.
+
+Just beyond Versailles, on the road to Maintenon, lies the trim little
+townlet of Saint Cyr, known to-day as the West Point of France, the
+military school founded by Napoleon I giving it its chief distinction.
+
+Going back into the remote past one learns that the village grew up from
+a foundation of Louis XIV, who bought for ninety-one thousand _livres_
+"a chateau and a convent for women," that Madame de Maintenon might
+establish a girls' school therein. She reserved an apartment for
+herself, and one suspects indeed that it was simply another project of
+the Widow Scarron to have a place of rendezvous near the capital.
+Certainly under the circumstances, taking into consideration the good
+that she was doing for orphaned girls, she might at least have been
+allowed the right of a roof to shelter her when she wished. She was
+absolutely dominant within, though never actually in residence for any
+length of time. It was here that "Esther" and "Athalie," which Racine
+had composed expressly for Madame de Maintenon's pensionnaires, were
+produced for the first time.
+
+[Illustration: Fauteuil _of_ Mme. _de_ Maintenon _Worked by the_
+Demoiselles _of_ Saint Cyr]
+
+When not actually living at Saint Cyr it was Madame de Maintenon's
+custom to come hither from Paris each day, arriving between seven and
+eight in the morning, passing the day and returning to town for the
+evening, much as a celebrated American millionaire journalist, whose
+country-house overlooks the famous convent garden, does to-day.
+
+Madame de Maintenon actually went into retirement at Saint Cyr upon the
+death of Louis XIV, and for four years, until her death, never left it.
+She died from old age, rather than from any grave malady, in this
+"Maison d'Education," which she had inaugurated, and was buried in the
+chapel, beneath an elaborate tomb which the Duc de Noailles, who married
+her niece, caused to be erected. The tomb was destroyed during the
+Revolution and the "Maison Royale de Saint Cyr," of which nothing had
+been changed since its foundation, was suppressed, the edifice itself
+being pillaged and the remains of Madame de Maintenon sadly profaned,
+finally to be recovered and deposited again in the chapel where a simple
+black marble slab marks them in these graven words:
+
+   Cy-Git Madame De Maintenon
+   1635-1719-1836
+
+Napoleon I established the Ecole Militaire at Saint Cyr, from which are
+graduated each year more than four hundred subaltern officers.
+
+The ancient gardens of Madame de Maintenon's time now form the "Champs
+de Mars," or drill ground, of the military school.
+
+South from Saint Cyr runs the great international highroad, the old
+Route Royale of the monarchy. It rises and falls, but mostly straight as
+the flight of the crow, until it crosses the great National Forest of
+Rambouillet. Following the valley of the Eure almost to its headwaters
+it finally comes to Maintenon, a town of a couple of thousand souls,
+whose most illustrious inhabitant was that granddaughter of
+Theodore-Agrippa d'Aubigne, named Francoise, and who came in time to be
+the Marquise de Maintenon.
+
+The Chateau de Maintenon was royal in all but name. The Tresorier des
+Finances under Louis XI, Jean Cottereau (a public official who made good
+it seems, since he also served in the same capacity for Charles VIII,
+Louis XII, and Francis I), had a single daughter, Isabeau, who, in 1526,
+married Jacques d'Angennes, who at the time was already Seigneur de
+Rambouillet.
+
+As a dot this daughter acquired the lands of Maintenon. The property was
+afterwards sold to the Marquis de Villeray, from whom Louis XIV bought
+it in 1674 and disposed of it as a royal gift to Francoise d'Aubigne,
+the fascinator of kings, who was afterwards to become (in 1688) Madame
+La Marquise de Maintenon.
+
+This ambitious woman subsequently married her niece to the Duc d'Ayen,
+son of the Marechal de Noailles, and as a marriage portion--or possibly
+to avoid unpleasant consequences--turned over the property of Maintenon
+to the young bride and her husband to whose family, the Noailles, it has
+ever since belonged.
+
+To-day the Duc and Duchesse de Noailles make lengthy stays in this
+delightful seigneurial dwelling, and since the apartments are full to
+overflowing of historical souvenirs of their family it may be truly said
+that their twentieth century life is to some considerable extent in
+accord with the traditions of other days.
+
+The existence of this princely residence is an agreeable reminder of the
+life of luxury of the olden time albeit certain modernities which we
+to-day think necessities are lacking.
+
+Maintenon is certainly one of the most beautiful so-called royal
+chateaux of France, if not by its actual importance at least by many of
+the attributes of its architecture, the extent of the domain and the
+history connected therewith. It bridges the span between the private
+chateau and those which may properly be called royal.
+
+In the moyen-age Maintenon was a veritable chateau-fort, forming a
+quadrilateral edifice flanked by round towers at three of its angles,
+and at the fourth by a great square mass of a donjon, all of which was
+united by a vast expanse of solidly built wall which possessed all the
+classic attributes of the best military architecture of its time.
+Entrance was only over a deep moat spanned by a drawbridge.
+
+[Illustration: _Chateau de Maintenon_]
+
+Jean Cottereau made his acquisition of the domain towards 1490 and
+immediately planned a new scheme of being for the old fortress which,
+according to a more esthetic conception, would thus be brought into the
+class of a luxurious residential chateau. He destroyed the _courtines_
+which attached the great donjon to the rest of the building, and opened
+up the courtyard so that it faced directly upon the park. He ornamented
+sumptuously the window framings, the dormer windows, and the turrets,
+and framed in the entrance portal with a series of sculptured motives
+which he also added to the entrance to the great inner stairway. In
+short it was an enlargement and embellishment that was undertaken, but
+so thoroughly was it done that the edifice quite lost its original
+character in the process. Like all the chateaux built at this epoch
+Maintenon was no longer a mere fortress, but a palatial retreat,
+luxurious in all its appointments, and shorn of all the manifest
+militant attributes which it had formerly possessed.
+
+The shell was there, following closely the original outlines, but the
+added ornamentation had effectually disguised its primordial existence.
+Living rooms needed light and air, while a fortress or quarters for
+troops might well be ordained on other lines. The Renaissance livened up
+considerably the severe lines of the Gothic chateaux of France, and
+though invariably the marks of the transition are visible to the expert
+eye it is also true, as in the case of Maintenon, that there is
+frequently a homogeneousness which is sufficiently pleasing to
+effectually cover up any discrepancies which might otherwise be
+apparent. The warrior aspect is invariably lost in the transition, and
+thus a Renaissance residential chateau enters at once into a different
+class from that of the feudal fortress regardless of the fact that such
+may have been its original status.
+
+The armorial device of Jean Cottereau--three unlovely lizards blazoned
+on a field of silver--is still to be seen sculptured on the two towers
+flanking the entrance portal which to-day lacks its old drawbridge
+before mentioned. Surrounding the edifice is a deep, unhealthful,
+mosquito-breeding moat which is all a mediaeval moat should be, but which
+is actually no great attribute to the place considering its
+disadvantages. One wonders that it is allowed to exist in so stagnant a
+condition, as the running waters of the near-by Eure might readily be
+made use of to change all this. The site of the chateau at the
+confluence of the Eure and the Voise is altogether charming.
+
+Madame de Maintenon did much to make the property more commodious and
+convenient and built the great right wing which binds the donjon to the
+main _corps de logis_. Her own apartments were situated in the new part
+of the palace. She also built the gallery which leads from the Tour de
+Machicoulis to the pointed chapel, which was a construction of the time
+of Cottereau, an accessory which every self-respecting country-house of
+the time was bound to have. It was by this gallery that the open tribune
+in the little chapel was reached, thus enabling Louis XIV to pass
+readily to mass while he was so frequent a visitor at that period when,
+at Maintenon, he was overseeing the construction of his famous aqueduct.
+
+Maintenon has had the honour, too, to count among its illustrious guests
+Racine, who came at the request of Madame de Maintenon, and here wrote
+"Esther" and "Athalie" which were later produced at Saint Cyr by Madame
+de Maintenon's celebrated band of "Demoiselles."
+
+Louis XIV was not the last of royal race to accept the Chateau de
+Maintenon's hospitality for the unhappy Charles X was obliged to ask
+shelter of its chatelain for himself and fleeing family. They arrived a
+little after midnight of a hot August night, slept as well as possible
+in the former apartments of Madame de Maintenon, and attended mass in
+the chapel on the following morning. The monarch then discharged the
+royal guard and the "hundred Swiss" and gave up, defeated at the game of
+playing monarch against the will of the people.
+
+One enters the _Cour d'Honneur_ by a great portal of the time of Louis
+XIV. Immediately before one is the principal facade, with its towers of
+brick and its slender little turrets framing in so admirably the
+entrance door. This facade is of the fifteenth century and on the tympan
+of the dormer windows one may still see the monogram of its builder,
+Cottereau. The drawbridge has been made way with, and the turrets over
+the portal have been bound together by a diminutive balcony of stone,
+which, while a manifest superfluity, is in no way objectionable.
+
+Under the entrance vault are doors on either side giving access to the
+living apartments of the _rez-de-chaussee_. In the inner courtyard is to
+be found the most exquisite architectural detail of the whole fabric,
+the tower which encloses the monumental stairway, to which entrance is
+had by a portal which is a veritable Gothic jewel. In the tympan of this
+portal, as in the dormer windows, is the device of Jean Cottereau,
+except in this case it is much more elaborate--a Saint Michel and the
+dragon, surrounded by a "_semis de coquilles_" bearing the escutcheons
+of the chatelain--_d'argent a lezards de sable_.
+
+At the left of this stairway tower is the principal courtyard facade,
+supported by four arcades, pierced with great windows and surmounted by
+two fine dormer windows, all in the style of Louis XII, of which the
+same effects to be observed at Blois and in the Hotel d'Alluye are
+contemporary.
+
+At the left of the inner court is the wing built by Cottereau which
+terminates in a great round tower, while to the right is that erected by
+Madame de Maintenon ending at the donjon. Directly opposite is a
+magnificent vista over the canal of ornamental water framed on either
+side by patriarchal trees and having as a background the silhouette of
+the arches of the famous aqueduct which was to lead the waters of the
+Eure to Versailles.
+
+The interior of the chateau is not less remarkable than the exterior.
+Entering by the tower portal one comes at once to that magnificent
+_grand escalier_ which is accounted one of the wonders of the French
+Renaissance.
+
+The Salle a Manger of to-day was the old-time Salle des Gardes. It is
+garnished with a fine wainscoting and panels of Cordovan leather. The
+Chambre a Coucher of Louis XIV, to the left, is to-day the Salon, and
+here are to be seen portraits of Louis XIV, Louis XII, Francis I, Henri
+IV, and Louis XIII.
+
+A tiny rotunda contains a statue of Henri IV as a child, and portraits
+of Madame de Maintenon and Louis XIV in their youth. A portrait gallery
+of restrained proportions contains effigies of Madame de Maintenon and
+her niece Mademoiselle d'Aubigne, the Duc de Penthievre, the Comtesse de
+Toulouse, the Duc de Noailles, the Duchesse de Villars and the Duchesse
+de Chaumont.
+
+The show-piece of the chateau, albeit of recent construction, is known
+variously as the "Grand Galerie" and the "Longue Galerie." Its
+decorations are due to the Duc de Noailles, the father of the present
+proprietor. Virtually it is a portrait gallery of the Noailles family,
+going back to the times of the Crusaders and coming down to the
+twentieth century.
+
+The apartments of Madame de Maintenon form that portion of the chateau
+which has the chief sentimental interest. In an ante-chamber is a
+_chaise a porteurs_ once having belonged to the Marquise, and her
+portrait by Mignard. Cordovan leather is hung upon the walls, and the
+restored sleeping-room is hung with a canopy and separated from the rest
+of the apartment by a balustrade in _bois dore_. Above the
+chimney-piece is a portrait of Louis XIV, after Rigaud, and, finally,
+the oratory is ornamented by a series of elegant sculptures in wood and
+a magnificent Boule coffer.
+
+[Illustration: _Aqueduct of Louis XIV at Maintenon_]
+
+In the left wing is found a beautiful chapel of the fifteenth century,
+which is very pure in style. It is decorated with a series of
+Renaissance wood panels of the finest workmanship. The coloured glass of
+the windows is of the sixteenth century.
+
+The rebuilt monumental stairway connects directly with a passage leading
+to the entrance portico which opens on the garden terrace before the
+_parterre_.
+
+The park of Maintenon is in every way admirable, with its _pelouse_, its
+great border of trees, its waterways and more than thirty bridges. Jean
+Cottereau himself planned the first vegetable and fruit garden, or
+_potager_, the same whose successor is the delight of the dwellers at
+Maintenon to-day.
+
+The _parterre_, the Grand Canal and the two avenues of majestic trees
+were due to the conception of Le Notre, and their effect, as set off by
+the alleyed forest background and the pillars of the aqueduct of Louis
+XIV, is something unique.
+
+The gardens at Maintenon were perhaps not Le Notre's most famous work
+but they followed the best traditions of their time, and because of
+their vast expanse of ornamental water were, in a way, quite unequalled.
+
+Ambling off towards the forest is a great avenue flanked with high
+overhanging shade trees known as the Allee Racine. It gets its name from
+the fact that the dramatist was wont to take his walks abroad in this
+direction and woo the muse while he was a guest of Madame de Maintenon.
+
+
+
+
+CHAPTER XIX
+
+RAMBOUILLET AND ITS FOREST
+
+[Illustration: Chateau de Rambouillet]
+
+
+Rambouillet is one of the most famous of the minor royal chateaux of
+France. Built under the first of the monarchies, in the midst of the
+vast forest of Yveline, it has always formed a part of the national
+domain. Even now, under Republican France, it is still the scene of the
+hunts organized for visiting monarchs, and, within the last half dozen
+years alone, the monarchs of Spain and Belgium, Italy and England have
+shot hares and stags and pheasants in company with a Republican
+president.
+
+The occasions have lacked the picturesque costumes of the disciples of
+Saint Hubert in other times; but the huntsman still winds his horn to
+the same traditional tune and the banquets given in the chateau on such
+occasions are, in no small measure, an echo of what has gone before.
+
+It was in the old chateau of Rambouillet that Francis I died. In the
+month of March, 1547, Francis, coming from Chambord in the south,
+crossed the "accursed bridge" and arrived at the foot of the ivy-grown
+donjon which one sees to-day, the last remaining relic of the mediaeval
+fortress. For a year the monarch had led a wandering life, revisiting
+all the favourite haunts of his kingdom, and, though scarce turned
+fifty, was prematurely aged and gray.
+
+He was lifted tenderly from his royal coach, and by the winding stair,
+carried slowly to his apartments on the second floor, overlooking the
+three canals and the "accursed bridge" and the tangled forest beyond.
+
+Jacques d'Angennes, to whose ancestors Rambouillet one day belonged,
+acted as host to his royal master and cared for him as a brother, but
+Francis was dispirited, and growing weaker every moment. He complained
+bitterly of the death of his favourite son from the plague, and of that
+of the gay monarch across the channel, his old friend, Henry VIII of
+England.
+
+He was restless and wished to move on to Saint Germain, but his
+condition made that impossible. After a feeble attempt to rouse himself
+for a hunt in the forest, he took to his bed again, with the admonition
+to his friend d'Angennes, who never left him: "I am dying, send for my
+son, Henri."
+
+The prince joined the mourners around the royal bedside and heard his
+father's confession thus: "My son, I have sinned greatly; I have been
+led away by my passions; follow that which I have done that is
+accredited good, and ignore the evil; above all, cherish France; be good
+to my people."
+
+That was all except the final counsel to "beware of the Guises; they are
+traitors." After that he spoke no more. Francis I, the gallant,
+art-loving monarch, the father of the Renaissance in France, was dead.
+
+In 1562, Catherine de Medici, accompanied by her son Charles IX, here
+awaited the results of the momentous battle of Dreux. In 1588, Henri
+III, fleeing Paris after the "_journee des barricades_" came here to
+rest, and so fatigued was he on his arrival that he went to bed "_tout
+botte_."
+
+The son of Louis XIV and Madame de Montespan came into possession of
+"the palace and lands" and in his honour the property was made, in spite
+of its limited area, a Duche-Pairie.
+
+Louis XIV and Madame de Maintenon, as was but natural, because of its
+proximity to Maintenon and to Paris, frequently honoured Rambouillet
+with their presence; and, a little later, Louis XV and the beautiful
+Comtesse de Toulouse followed suit.
+
+The Duc de Penthievre, to whom the property had by this time descended,
+at the instance of Louis XVI, ceded to that monarch the domain of
+Rambouillet.
+
+Louis XVI built vast commons and outbuildings, all with some
+architectural pretence, to house the appanage of the royal hunt, and
+also built the Laiterie de la Reine and the model farm where, in 1786,
+he established the first national sheepfold.
+
+[Illustration: _Laiterie de la Reine, Rambouillet_]
+
+To-day this is the famous Ecole de Bergers, where is quartered the
+largest flock of _moutons a laine_ (merino sheep) in France, they
+having been brought chiefly from Spain.
+
+The Laiterie de la Reine was a tiny sandstone temple with interior
+fittings chiefly of white marble, and with a great, round centre-table,
+and smaller tables in each corner, equally of marble, as becomes a
+hygienically fitted dairy. It was restored by Louis Napoleon during the
+Second Empire, and is still to be seen in all its pristine glory.
+
+In addition, Louis XVI had at Rambouillet a private domain of a
+considerable extent which only the Constitution of 1791 united to the
+Civil List. This property, except the palace, the park and the forest,
+was sold later by the State. The Imperial Civil List, formed in 1805 by
+Napoleon, included these dependencies specifically, and the emperor
+frequently hunted in the neighbouring forest, though, compared to his
+predecessors, he had little time to devote to that form of sport. Here,
+too, was signed, in 1810, the decree which united Holland with the
+Empire.
+
+Rambouillet has fallen sadly since the Revolution. A decree of the
+_Representants du Peuple_, of October 14, 1793, provided that "the
+furnishings of this palace, heretofore royal, shall be sold." Under the
+Consulate and Empire a certain citizen, Trepsat by name, received an
+injury in protecting Napoleon in an attack and, as recompense, was made
+the official Architect and Conservator of the Palace of Rambouillet.
+
+Hardly had Trepsat entered upon his functions when he suggested the
+demolition of the chateau. Napoleon hesitated, but finally partially
+agreed, insisting, however, that enough should be left to form a
+comfortable hunting-lodge. Trepsat would have torn down all and rebuilt
+anew. Napoleon made an appointment with his architect to visit the
+property and discuss the matter in detail the following year (1805), but
+at that moment he was campaigning in Austria, so the interview was not
+held. This was Trepsat's chance, and he found a pretext to overthrow the
+entire east wing, but was stopped before he was able to further carry
+out his ignorant act of vandalism. Trepsat was severely reprimanded by
+the emperor himself, and was ordered to put things back as he found
+them. "Even the most battered and sickly architect who ever lived could
+hardly have had a worse inspiration," said Napoleon. Trepsat, be it
+recalled, had lost a leg.
+
+The restoration was commenced, but Trepsat, committing one fault after
+another, and finally juggling with the accounts, was obliged to take on
+a collaborator by the name of Famin, a young _pensionnaire_ of the
+Academie des Beaux Arts, recently returned from Rome. It was he who
+saved Rambouillet from utter destruction.
+
+The apartments of Napoleon, which were those given over to public
+functions in the time of the Comte de Toulouse, had been, and were, most
+luxuriously appointed. That which shows most clearly the imprint of the
+imperial regime is the curious Salle de Bains which was in direct
+communication with the study, or Cabinet de Travail.
+
+It might have been a room in a Pompeian house so classic were its lines
+and decorations. There was a series of medallions painted on the wall
+representing portraits of members of the imperial family. These were
+chiefly portraits of the female sex, and Napoleon, the first time he
+entered his bath, in an excess of modesty and fury cried out: "Who is
+the ass that did this thing?" Immediately they were painted out, and,
+for the sum of nine hundred and fifty francs, another artist was found
+who filled the frames of the medallions with sights and scenes
+associated less intimately with Napoleonic history.
+
+Under the Empire the architect Famin was commissioned to furnish a
+series of architectural embellishments to the gardens of Rambouillet.
+Various stone statues were added and an octagon pavilion on the Ile des
+Roches was restored and redecorated. Two great avenues were cut through
+the _parterre_, and, as if fearing indiscretions on the part of his
+entourage, the emperor caused to be planted long rows of lindens and
+tulip trees, which were again masked by two rows of poplars. The
+_peloux_ of the Jardin Francais were reestablished and the curves and
+sweeps of the paths of the Jardin Anglais laid out anew.
+
+This ancient government property, arisen anew from its ruins, now bore
+the name of the Pavillon du Roi de Rome, after the son of Napoleon. The
+Ecuries, or stables, which had been built by Louis XVI, were transformed
+into kennels, and various "posts," or miniature shooting-boxes, were
+distributed here and there through the park.
+
+Under the Restoration the transformation of the chateau, which had been
+projected ever since the time of Louis XVI, undertaken and then
+abandoned by Napoleon, was again commenced, but on a less ambitious
+scale than formerly. Chiefly this transformation consisted of opening up
+windows, thus making practically a new facade. It was not wholly a happy
+thought, and the spirit of economy of Louis XVIII, no less, perhaps,
+than other motives, arrested this mutilation and the architect was
+discharged from his functions.
+
+[Illustration: _Chateau de Rambouillet_]
+
+Again the hand of fate fell hard upon Rambouillet and its definite
+eclipse as a royal abode came with the abdication of Charles X. The
+abdication was actually signed at Rambouillet, and here, in the same
+Salle du Conseil, the dauphin renounced the throne in favour of the
+young Duc de Bordeaux.
+
+It was at Rambouillet that Charles X passed those solemn last days
+before the abdication. He had been unmercifully harassed at Paris and
+sought a quiet retreat, "not too far from the Tuileries," where he might
+repose a moment and take counsel. In view of later events this was
+significant; perhaps it was significant at the time, for the king
+speedily repented his abdication. It was too late, for he had classed as
+rebels all the royalists who would have accepted the "infant king" as
+their monarch, even though the following Revolution prevented this.
+
+It was on the third of August that the commissioners, deputies of the
+Provisionary Government, were brought before the king at Rambouillet.
+They announced that twenty-five thousand armed Parisians were marching
+on the chateau to compel him to quit his kingdom. It was not a matter
+for debate, and at nine o'clock on the same night the monarch gave
+assent to being conducted to Cherbourg, where he embarked upon his fatal
+exile.
+
+After 1830, with a business-like instinct, the authorities rented the
+property for twelve years to the Baron Schickler, and, at the end of the
+Revolution of 1848, its career became more plebeian still; it was rented
+to a man who converted the palace into an elaborately appointed
+road-house, and the lawns and groves into open-air restaurants and
+dancing places.
+
+Under the Gouvernement du Juillet the chateau, the park and the forest
+were removed from the Civil List, and entered upon the inventory of the
+Administration des Domaines.
+
+Under the Second Empire Rambouillet appeared again on the monarchial
+Civil List. Napoleon III came here at times to hunt, but not to live,
+and of his rare appearances at the chateau but little record exists.
+Since 1870 Rambouillet has belonged to the Republican Government, and,
+since royalties no longer exist in France, Republican chiefs of state
+now take the lead in Rambouillet's national hunts.
+
+The property, as it stands to-day, is divided readily into four distinct
+parts, the palace, the _parterre_, the _Jardin Anglais_ and the park.
+The grove of lindens is remarkable in every respect, the ornamental
+waters are gracious and of vast extent, and the _Laiterie_ and the
+_Ferme_ are decidedly models of their kind; but the Chaumiere des
+Coquillages, a rustic summer-house of rocks and shells and questionable
+debris of all sorts, is hideous and unworthy.
+
+Not the least of the charming features of the park is the great alley of
+Louisiana cypresses, one of the real sights, indeed, perfecting the
+charm of the great body of water to the left of the chateau.
+
+Of the structure which existed in the fourteenth century, the chateau of
+Rambouillet retains to-day only a great battlemented tower, and some
+low-lying buildings attached to it. Successive enlargements,
+restorations and mutilations have changed much of the original aspect of
+the edifice, and modern structures flank and half envelop that which, to
+all eyes, is manifestly ancient. The debris of the old fortress, which
+was the foundation of all, adds its bit to the conglomerate mass of
+which the chief and most imposing elements are the two tall _corps de
+logis_ in the centre.
+
+Within, a rather banal Salle de Bal is shown as the chief feature, but
+it is conventionally unlovely enough to be passed without emotion, save
+that its easterly portion takes in the _cabinet_, or private apartment,
+where Charles X signed his abdication. Adjoining this is the bedroom
+occupied by that monarch, and a dining-room which also served His
+Majesty, and which is still used by the head of the government on
+ceremonious occasions. Its decorative scheme is of the period of Louis
+XV.
+
+The Salle de Conseil is of the period of Charles X, and has some fairly
+imposing carved wainscotings showing in places the monograms of Marie
+Sophie and the Comtesse de Toulouse.
+
+A great map, or plan, of the Forest of Rambouillet covers the end wall,
+and, if not esthetically beautiful, is at least useful and very
+interesting.
+
+It was executed under Louis XVI and doubtless served its purpose well
+when the hunters gathered after a day afield and recounted anecdotes of
+their adventures.
+
+There is another apartment on the ground floor which is known as the
+_Salle a Manger des Rendezvous de Chasse_, whose very name explains well
+its functions.
+
+The Cabinet de Travail of Marie Antoinette and the Salle de Bain of
+Napoleon have something more than a mere sentimental interest; they were
+decidedly practical adjuncts to the royal palace.
+
+Napoleon's bath took the form of a rather short, deep pool. Its fresco
+decorations, as seen to-day--replacing that family portrait gallery
+which Napoleon caused to be painted out--are after the pseudo-antique
+manner and represent bird's-eye views of various French cities and
+towns, while a series of painted armorial trophies decorates the
+ceiling.
+
+On the second floor are the apartments occupied by the Duchesse de Berry
+and those of the Duchesse d'Angouleme.
+
+In the great round tower is the circular apartment where Francis I
+breathed his last. It is this great truss-vaulted room that most
+interests the visitor to Rambouillet.
+
+On the ground floor is another Salle de Bain, quite as theatrically
+disposed as that of Napoleon. Its construction was due to the Comte de
+Toulouse whose taste ran to Delft tiles and polychrome panels, framing
+two imposing marines, also worked out in tiles.
+
+The _parterre_, extending before the main building, is of an ampleness
+scarcely conceivable until once viewed. It is purely French in design
+and is of the epoch of the tenancy of the Comte de Toulouse. Before the
+admirably grouped lindens was a boathouse, and off in every direction
+ran alleys of acacias, while here and there tulip beds, rose gardens and
+hedges of rhododendrons flanked the very considerable ornamental waters.
+This body of water, in the form of a trapezoid, is divided by four
+grass-grown islets and separates the Jardin Anglais from the Jardin
+Francais. One of the islets is known as the Ile des Roches and contains
+the Grotte de Rabelais, so named in honour of the Cure of Meudon, when
+he was presented at Rambouillet by the Cardinal du Bellay. It was on
+this isle that were given those famous fetes in honour of the "_beaux
+esprits_" who formed the assiduous cortege of Catherine de Vivonne,
+mythological, pagan and _outre_.
+
+The Jardin Anglais at Rambouillet is the final expression of the species
+in France. Designed under the Duc de Penthievre, it was restored and
+considerably enlarged by Napoleon and, following the contours of an
+artificial rivulet, it fulfils the description that its name implies.
+
+More remote, and half hidden from the precincts of the chateau, are the
+Chaumiere and the Ermitage and they recall the background of a Fragonard
+or a Watteau. It is all very "stagy"--but, since it exists, can hardly
+be called unreal.
+
+The park proper, containing more than twelve hundred hectares, is one of
+the largest and most thickly wooded in France. Between the _parterre_
+and the French and English garden and the park lie the Farm and the
+Laiterie de la Reine, the caprice of Louis XVI when he would content
+Marie Antoinette and give her something to think about besides her
+troubles. Napoleon stripped it of its furnishings to install them, for
+a great part, at Malmaison, for that other unhappy woman--Josephine.
+Later, to give pleasure to Marie Louise, he ordered them brought back
+again to Rambouillet, but it was to Napoleon III that the restoration of
+this charming conceit was due.
+
+In the neighbourhood of Rambouillet was the famous Chateau de Chasse, or
+royal shooting-box, which Louis XV was fond of making a place of
+rendezvous.
+
+On the banks of the Etang de Pourras stood this Chateau de Saint Hubert,
+named for the patron saint of huntsmen, and within its walls was passed
+many a happy evening by king and courtiers after a busy day with stag
+and hound.
+
+The hunt in France was perhaps at the most picturesque phase of its
+existence at this time. The hunt of to-day is but a pale, though bloody,
+imitation of the real sport of the days when monarchs and their
+seigneurs in slashed doublet and hose and velvet cloaks pursued the deer
+of the forest to his death, and knew not the _maitre d'equipage_ of
+to-day.
+
+
+
+
+CHAPTER XX
+
+CHANTILLY
+
+
+Chantilly, because of its royal associations, properly finds its place
+in every traveller's French itinerary. Not only did Chantilly come to
+its great glory through royal favour, but in later years the French
+government has taken it under its wing, the chateau, the stables and the
+vast park and forest, until the ensemble is to-day as much of a national
+show place as Versailles or Saint Germain. It is here in the marble
+halls, where once dwelt the Condes and the Montmorencys, that are held
+each year the examinations of the French Academie des Beaux Arts. And
+besides this it is a place of pilgrimage for thousands of tourists who,
+as a class, for a couple of generations previously, never got farther
+away from the capital than Saint Cloud.
+
+Many charters of the tenth century make mention of the estates of
+Chantilly, which at that time belonged to the Seigneurs of Senlis. The
+chateau was an evolution from a block-house, or fortress, erected by
+Catulus in Gallo-Roman times and four centuries later it remained
+practically of the same rank. In the fourteenth century the chateau was
+chiefly a vast fortress surrounded by a water defence in the form of an
+enlarged moat by means of which it was able to resist the Bourguignons
+and never actually fell until after the taking of Meaux by the English
+king, Henry V.
+
+[Illustration: CHANTILLY]
+
+Jean II de Montmorency, by his marriage with Marguerite d'Orgemont, came
+to be the possessor of the domain, their son, in turn, becoming the
+heir. It was this son, Guillaume, who became one of the most brilliant
+servitors of the monarchs Louis XI, Louis XII, and Francis I, and it was
+through these friends at court that Chantilly first took on its regal
+aspect.
+
+In turn the celebrated Anne de Montmorency, Connetable de France, came
+into the succession and finding the old fortress, albeit somewhat
+enlarged and furbished up by his predecessor, less of a palatial
+residence than he would have, separated the ancient chateau-fort from an
+added structure by an ornamental moat, or canal, and laid out the
+_pelouse_, _parterres_ and the alleys of greensward leading to the
+forest which make one of the great charms of Chantilly to-day.
+
+Here resided, as visitors to be sure, but for more or less extended
+periods, and at various times, Charles V, Charles IX and Henri IV, each
+of them guests of the hospitable and ambitious Montmorencys.
+
+[Illustration: _Statue of Le Notre, Chantilly_]
+
+Chantilly passed in 1632 to Charlotte, the sister of the last Marechal
+de Montmorency, the wife of Henri II, Prince de Conde, the mother of the
+Grand Conde, the Prince de Conti and the Duchesse de Longueville.
+
+With the Grand Conde came the greatest fame, the apotheosis, of
+Chantilly. This noble was so enamoured of this admirable residence that
+he never left it from his thoughts and decorated it throughout in the
+most lavish taste of his time, destroying at this epoch the chateau of
+the moyen-age and the fortress. These were the days of gallant warriors
+with a taste for pretty things in art, not mere bloodthirsty
+slaughterers.
+
+On the foundations of the older structures there now rose an admirable
+pile (not that which one sees to-day, however), embellished by the
+surroundings which were evolved from the brain of the landscape
+gardener, Le Notre. The Revolution made way with this lavish structure
+and with the exception of the Chatelet, or the Petit Chateau (designed
+by Jean Bullant in 1560, and remodelled within by Mansart) the
+present-day work is a creation of the Duc d'Aumale, the heir to the
+Condes' name and fame, to whom the National Assembly gave back his
+ancestral estates which had in the meantime come into the inventory of
+royal belongings through the claims established by the might of the
+Second Empire.
+
+Back to the days of the Grand Conde one reads of an extended visit made
+by Louis XIV to his principal courtier. It was at an expense of two
+hundred thousand _ecus_ that the welcoming fete was accomplished. Madame
+de Sevigne has recounted the event more graphically than any other
+chronicler, and it would be presumption to review it here at length. The
+incident of Vatel alone has become classic.
+
+To the coterie of poets at Rambouillet must be added those of Chantilly;
+their sojourn here added much of moment to the careers and reputations
+of Boileau, Racine, Bourdaloue and Bossuet. It was the latter, who, in
+the funeral oration which he delivered on the death of the Prince de
+Conde, said:
+
+"Here under his own roof one saw the Grand Conde as if he were at the
+head of his armies, a noble always great, as well in action as in
+repose. Here you have seen him surrounded by his friends in this
+magnificent dwelling, in the shady alleys of the forest or beside the
+purling waters of the brooks which are silent neither day nor night."
+
+The Grand Conde died, however, at Fontainebleau. The heir, Henri-Jules
+de Bourbon, did his share towards keeping up and embellishing the
+property, and to him was due that charming wildwood retreat known as the
+Parc de Sylvie.
+
+Louis-Henri de Bourbon, Minister of Louis XV at the commencement of his
+reign, had gained a fabulous sum of money in the notorious "Law's Bank"
+affair, and, with a profligate and prodigal taste in spending, lived a
+life of the grandest of grand seigneurs at Chantilly, to which, as his
+donation to its architectural importance, he contributed the famous
+Ecuries, or stables. To show that he was _persona grata_ at court he
+gave a great fete here for Louis XV and the Duchesse du Barry.
+
+The last Prince de Conde but one before the Revolution built the Chateau
+d'Enghien in the neighbourhood, and sought to people the Parc de Sylvie
+with a rustic colony of thatched _maisonettes_ and install his
+favourites therein in a weak imitation of what had been done in the
+Petit Trianon. The note was manifestly a false one and did not endure,
+not even is its echo plainly audible for all is hearsay to-day and no
+very definite record of the circumstance exists.
+
+Chantilly in later times has been a favourite abode with modern
+monarchs. The King of Denmark, the Emperor Joseph II and the King of
+Sweden were given hospitality here, and much money was spent for their
+entertainment, and much red and green fire burned for their amusement
+and that of their suites.
+
+The Revolution's fell blow carried off the principal parts of the
+Conde's admirable constructions and it is fortunate that the Petit
+Chateau escaped the talons of the "Bande Noire." Immediately afterwards
+the Chateau d'Enghien and the Ecuries were turned over to the uses of
+the Minister of War, and the authorities of the Jardin des Plantes were
+given permission to transplant and transport anything which pleased
+their fancy among the exotics which had been set out by Le Notre in
+Chantilly's famous _parterres_.
+
+Under the imperial regime the Foret de Chantilly was given in fee simple
+to Queen Hortense, though all was ultimately returned to the Conde heirs
+after the Restoration. It was at this period that Chantilly received the
+visit of Alexander, Emperor of Russia, and the historian's account of
+that visit makes prominent the fact that during the periods of rain it
+was necessary that an umbrella be carried over the imperial head as he
+passed through the corridors of the palace from one apartment to
+another.
+
+The host of the emperor died here in 1818 and his son, spending perhaps
+half of his time here, cared little for restoration and spent all his
+waking hours hunting in the forest, returning to the Petit Chateau only
+to eat and sleep.
+
+The Duc de Bourbon added to the flanking wings of the Petit Chateau and
+cleaned up the debris which was fast becoming moss-grown, weed
+encumbered and altogether disgraceful. The moats were cleaned out of
+their miasmatic growth and certain of the grass-carpeted _parterres_
+resown and given a semblance of their former selves.
+
+Some days after the Revolution of 1830 the Prince de Conde died in a
+most dramatic fashion, and his son, the Duc d'Enghien, having been shot
+at Vincennes under the Empire, he willed the Duc d'Aumale and his issue
+his legal descendants forever.
+
+Towards 1840 the Duc d'Aumale sought to reconstruct the splendours of
+Chantilly, but a decree of January 22, 1852, banished the entire Orleans
+family and interrupted the work when the property was sold to the
+English bankers, Coutts and Company, for the good round sum of eleven
+million francs, not by any means an extravagant price for this estate
+of royal aspect and proportions. The National Assembly of 1872 did the
+only thing it could do in justice to tradition--bought the property in
+and decreed that it be restored to its legitimate proprietor.
+
+It was as late as 1876 that the Duc d'Aumale undertook the restoration
+of the Chatelet and the rebuilding of the new chateau which is seen
+to-day. The latter is from the designs of Henri Daumet, member of the
+Institut de France.
+
+In general the structure of to-day occupies the site of the moyen-age
+chateau but is of quite a different aspect.
+
+The Duc d'Aumale made a present of the chateau and all that was
+contained therein to the Institut de France. From a purely sordid point
+of view it was a gift valued at something like thirty-five million
+francs, not so great as many new-world public legacies of to-day, but in
+certain respects of a great deal more artistic worth.
+
+The mass is manifestly imposing, made up as it is, of four distinct
+parts, the Eglise, dating from 1692, the Ecuries, the Chatelet--or Petit
+Chateau, and the Chateau proper--the modern edifice.
+
+Before the celebrated Ecuries is a green, velvety _pelouse_ which gives
+an admirable approach. The architecture of the Ecuries is of a heavy
+order and the sculptured decorations actually of little esthetic worth,
+representing as they do hunting trophies and the like. Before the great
+fountain one deciphers a graven plaque which reads as follows:
+
+   Louis Henri de Bourbon
+   Prince de Conde
+   Fut Construire Cette Ecurie
+   1701-1784.
+
+Within the two wings may be stabled nearly two hundred horses. The Grand
+Ecuries at Chantilly are assuredly one of the finest examples extant of
+that luxuriant art of the eighteenth century French builder. Luxurious,
+excessively ornate and overpowering it is, and, for that reason, open to
+question. The work of the period knew not the discreet middle road. It
+was of Chantilly that it was said that the live stock was better lodged
+than its masters. The architect of this portion of the chateau was Jean
+Aubert, one of the collaborators of Jules Hardouin Mansart.
+
+The characteristics of Chantilly, take it as a whole, the chateau, the
+park and the forest, are chiefly theatrical, but with an all-abiding
+regard for the proprieties, for beyond a certain heaviness of
+architectural style in parts of the chateau everything is of the finely
+focussed relative order of which the French architect and landscape
+gardener have for ages been past masters.
+
+The real French garden is here to be seen almost at its best, its
+squares and ovals of grassy green apportioned off from the mass by
+gravelled walks and ornamented waters. The "_tapis d'orient_" effect, so
+frequently quoted by the French in writing of such works, is hardly
+excelled elsewhere.
+
+All this shocked the mid-eighteenth century English traveller, but it
+was because he did not, perhaps could not, understand. Rigby, "the
+Norwich alderman" as the French rather contemptuously referred to this
+fine old English gentleman, said frankly of Chantilly: "All this has
+cost dear and produced a result far from pleasing." He would have been
+better pleased doubtless with a privet or box hedge and an imitation
+plaster rockery, things which have never agreed with French taste, but
+which were the rule in pretentious English gardens of the same period.
+Rigby must indeed have been a "_grincheau_," as the French called him,
+for this same up-country gentleman said of Versailles: "Lovely
+surrounding country but palace and park badly designed." Versailles is
+not that, whatever else its faults may be.
+
+Chantilly is more than a palace, it is a museum of nature, a hermitage
+of art and of history. The fantasy of its _tourelles_, its _lucarnes_
+and its _pignons_ are something one may hardly see elsewhere in such
+profusion, and the fact that they are modern is forgotten in the
+impression of the general silhouette.
+
+The adventurer who first built a donjon on the Rocher de Chantilly
+little knew with what seigneurial splendour the site was ultimately to
+be graced. From a bare outpost it was transformed, as if by magic, into
+a Renaissance palace of a supreme beauty. The Duc d'Aumale said in his
+"Acte de Donation de Chantilly": "It stands complete and varied, a
+monument of French art in all its branches, a history of the best epochs
+of our glory."
+
+Among all the palatial riches neighbouring upon Paris, not forgetting
+Versailles, Compiegne, Fontainebleau, Pierrefonds and Rambouillet,
+Chantilly, by the remarkable splendour of its surroundings, its
+situation and the artistic treasures which it possesses, is in a class
+by itself. It is a class more clearly defined by the historic souvenirs
+which surround it than any other contemporary structure of this part of
+France.
+
+Its corridors and gravelled walks and the long alleys of the park and
+forest may not take on the fete-like aspect which they knew in the
+eighteenth century, but they are not solitary like those of
+Fontainebleau and Rambouillet, nor noisily overrun like those of
+Versailles or Saint Germain.
+
+The ornamental waters which surround the Chateau de Chantilly are of a
+grand and nearly unique beauty. It is a question if they are not finer
+than the waters of Versailles, indeed they preceded them and may even
+have inspired them.
+
+The Chatelet, the chateau proper and the chapel form a group quite
+distinct from the Ecuries. The Cour d'Honneur is really splendid and one
+hardly realizes the juxtaposition of modernity. The pavilion attributed
+to Jean Bullant, the western facade, the ancient Petit Chateau, the
+Grand Vestibule, the Grand Escalier and the Gallerie des Cerfs and a
+dozen other apartments are of a rare and imposing beauty, though losing
+somewhat their distinctive aspect by reason of the _objets de musee_
+distributed about their walls and floors.
+
+One of the landscape gems of Chantilly is the _Pelouse_, a vast
+esplanade of greensward now forming, in part, the celebrated race track
+of Chantilly. Sport ever formed a part of the outdoor program at
+Chantilly, but that of to-day is just a bit more horsey than that of
+old, a good deal less picturesque and assuredly more vulgarly banal as
+to its _cachet_ than the hunts, the tourneys and courses of the romantic
+age.
+
+[Illustration: _Chateau de Chantilly_]
+
+Thousands come to Chantilly to wager their coin on scrubs and dark
+horses ridden by third-rate "warned-off" jockeys from other lands, but
+probably not ten in ten thousand of the lookers on at the Grand Prix du
+Jockey Club in May ever make the occasion of the spring meeting an
+opportunity for visiting the fine old historic monument of the Condes.
+
+The "Races" of Chantilly may be given a further word in that they are an
+outgrowth of a foundation by the Duc d'Orleans in 1832. The track forms
+a circuit of two thousand metres, and occupies quite the best half of
+the Pelouse, closed in on one side by the thick-grown Foret de Chantilly
+and flanked, in part, on the other by the historic Ecuries, with the
+Tribune, or grand stand, just to the south.
+
+Many tourists arrive at Chantilly by auto, stop brusquely before the
+Grande Grille, rush through the galleries of the chateau, do "_cent
+pas_" in the park, give a cursory glance at the stables and are off; but
+more, many more, with slower steps and saner minds, drink in the charms
+which are offered on all sides and consider the time well spent even if
+they have paid "Boulevard Prices" at the Restaurant du Grand Conde for
+their _dejeuner_.
+
+It has been said that a museum is a reunion of _objets d'art_ brought
+about by a methodical grouping, either chronologically or categorically.
+The Duc d'Aumale's Musee de Chantilly is more an expression of personal
+taste. He collected what he wished and he arranged his collections as
+suited his fancy.
+
+The famous Musee de Chantilly, which is the lodestone which draws most
+folk thither, so admirably housed, was a gift of the Duc d'Aumale who,
+for the glory of his ancestors, and the admiration of the world, to say
+nothing of his own personal satisfaction, here gathered together an
+eclectic collection of curious and artistic treasures, certainly not the
+least interesting or valuable among the great public collections in
+France. The effect produced is sometimes startling, a Messonier is cheek
+by jowl with a Baron Gros, a Decamps _vis a vis_ to a Veronese, and a
+Lancret is bolstered on either hand by a Poussin and a Nattier. Amid all
+this disorder there is, however, an undeniable, inexplicable charm.
+
+There are three distinct apartments worth, more than all the others, the
+glance of the hurried visitor to the Musee Conde at Chantilly. In the
+first, the Santuario, is the Livre d'Heures of Etienne Chevalier, by
+Jean Fouquet, considered as the most important relic of primitive French
+art extant.
+
+The Cabinet des Gemmes comes second, and here is the celebrated "Diamant
+Rose," called the Grand Conde.
+
+Finally there is the Galerie de Psyche, with forty-four coloured glass
+windows, executed for the Connetable de Montmorency in 1541-1542.
+
+The great collection of historical and artistic treasures stowed away
+within the walls of Chantilly the Duc d'Aumale selected himself in order
+to associate his own name with the glorious memory of the Condes, who
+were so intimately connected with the chateau.
+
+The Duc sought to recover such of the former furnishings of the chateau
+as had been dissipated during the Revolution whenever they could be
+heard of and could be had at public or private sale.
+
+In this connection a word on Chantilly lace may not be found inapropos.
+The Chantilly lace of to-day, it is well to recall, is a mechanically
+produced article of commerce, turned out by the running mile from
+Nottingham, England, though in the days when Chantilly's porcelains
+rivalled those of Sevres it was purely a local product. One may well
+argue therefore that the bulk of the Chantilly lace sold in the shops of
+Chantilly to-day is not on a par with the admirable examples to be seen
+in the glass cases of the museum.
+
+A wooded alley leading to the great park runs between the main edifice
+and the Chateau d'Enghien, a gentle incline descending again to the
+sunken gardens in a monumental stairway of easy slope, the whole a
+quintessence of much that is best of the art of the landscape gardener
+of the time.
+
+To the left extends the vast Jardin Anglais--a veritable French Jardin
+Anglais. Let not one overlook the distinction: On conventional lines it
+is pretty, dainty and pleasing, but the species lacks the dignified
+formality of the Italian garden or the ingenious arrangement of the
+French. Its curves and ovals and circles are annoying after the _lignes
+droites_ and the right angles and the _broderies_ of the French variety.
+
+The Foret de Chantilly covers two thousand four hundred and forty-nine
+hectares and extends from the Bois de Herivaux on one side to the Foret
+de Senlis on the other. The _rendezvous-de-chasse_ was, in the old days,
+and is to-day on rare occasions, at the Rond Point, to which a dozen
+magnificent forest roads lead from all directions, that from the town
+being paved with Belgian blocks, the dread of automobilists, but
+delightful to ride over in muddy weather. The Route de Connetable, so
+called, is well-nigh ideal of its kind. It launches forth opposite the
+chateau and at its entrance are two flanking stone lions. It is of a
+soft soil suitable for horseback riding, but entirely unsuited for
+wheeled traffic of any kind.
+
+Another of the great forest roads leads to the Chateau de la Reine
+Blanche, a diminutive edifice in the pointed style, with a pair of
+svelte towers coiffed candle-snuffer fashion. Tradition, and very
+ancient and somewhat dubious tradition, attributes the edifice as having
+belonged to Blanche de Navarre, the wife of Philippe de Valois. Again it
+is thought to have been a sort of royal attachment to the Abbaye de
+Royaumont, built near by, by Saint Louis. This quaintly charming manor
+of minute dimensions was a tangible, habitable abode in 1333, but for
+generations after appears to have fallen into desuetude. A mill grew up
+on the site, and again the walls of a chateau obliterated the more
+mundane, work-a-day mill. The Duc de Bourbon restored the whole place in
+1826 that it might serve him and his noble friends as a hunting-lodge.
+
+
+
+
+CHAPTER XXI
+
+COMPIEGNE AND ITS FOREST
+
+
+One of the most talked of and the least visited of the minor French
+palaces is that of Compiegne. The archeologists coming to Compiegne
+first notice that all its churches are "_malorientees_." It is a minor
+point with most folk, but when one notes that its five churches have
+their high altars turned to all points of the compass, instead of to the
+east, it is assuredly a fact to be noticed, even if one is more
+romantically inclined than devout.
+
+Through and through, Compiegne, its palace, its hotel-de-ville, its
+forest, is delightful. Old and new huddle close together, and the _art
+nouveau_ decorations of a branch of a great Parisian department store
+flank a butcher's stall which looks as though it might have come down
+from the times when all trading was done in the open air.
+
+Compiegne's origin goes back to the antique. It was originally
+Compendium, a Roman station situated on the highway between Soissons and
+Beauvais. A square tower, Caesar's Tower, gave a military aspect to the
+walled and fortified station, and evidences are not wanting to-day to
+suggest with what strength its fortifications were endowed.
+
+[Illustration: Compiegne]
+
+It was here that the first Frankish kings built their dwelling, and here
+that Pepin-le-Bref received the gracious gift of an organ from the
+Emperor Constantine, and here, in 833, that an assembly of bishops and
+nobles deposed Louis-le-Debonnaire.
+
+Charles-le-Chauve received Pope Jean VIII in great pomp in the palace at
+Compiegne, and it was this Pope who gave absolution to Louis-le-Begue,
+who died here but a year after, 879. The last of the Carlovingians,
+Louis V (le-Faineant), died also at Compiegne in 987.
+
+The city is thus shown to have been a favourite place of sojourn for the
+kings of the Franks, and those of the first and second races. As was but
+obvious many churchly councils were held here, fourteen were recorded in
+five centuries, but none of great ecclesiastical or civil purport.
+
+The city first got its charter in 1153, but the Merovingian city having
+fallen into a sort of galloping decay Saint Louis gave it to the
+Dominicans in 1260, who here founded, by the orders of the king, a Hotel
+Dieu which, in part, is the same edifice which performs its original
+functions to-day.
+
+The first great love of Compiegne was expressed by Charles V, who
+rebuilt the palace of Charles-le-Chauve in a manner which was far from
+making it a monumental or artistically disposed edifice. It was
+originally called the Louvre, from the Latin word _opus_
+(_l'oeuvre_), a word which was applied to all the chateaux-forts of
+these parts. The same monarch did better with the country-houses which
+he afterwards built at Saint Germain and Vincennes; perhaps by this time
+he had grown wise in his dealings with architects.
+
+Like all the little towns of the Valois, Compiegne abounds in souvenirs
+of the Guerre de Cent Ans, Jeanne d'Arc, Louis XIV, Louis XV, Napoleon I
+and Napoleon III, and as its monuments attest this glory, so its forest,
+one of the finest in France, awakens almost as many historical memories.
+
+Wars and rumors of war kept Compiegne in a turmoil for centuries, but
+the most theatrical episode was the famous "_sortie_" made by Jeanne
+d'Arc when she was attempting to defend the city against the combined
+English and Burgundian troops. It was an episode in which faint heart,
+perhaps treason, played an unwelcome part, for while the gallant maid
+was taking all manner of chances outside the gates the military
+governor, Guillaume de Flavy, ordered the barriers of the great portal
+closed behind her and her men.
+
+Near the end of the Pont de Saint Louis Jeanne d'Arc fell into the hands
+of the besiegers. An archer from Picardy captured her single handed,
+and, for a round sum in silver or in kind, turned her over to her
+torturer, Jean de Luxembourg. A statue of the maid is found on the
+public "Place," and the Tour Jeanne d'Arc, a great circular donjon of
+the thirteenth century, is near by. Another souvenir is to be found in
+the ancient Hotel de Boeuf, at No. 9 Rue de Paris, where the maid
+lodged from the eighteenth to the twenty-third of August, 1429, awaiting
+the entry of Charles VII.
+
+With the era of Francis I that gallant and fastidious monarch came to
+take up his residence at Compiegne. He here received his "friend and
+enemy," Charles V, but strangely enough there is no monument in
+Compiegne to-day which is intimately associated with the stay here of
+the art-loving Francis. He preferred, after all, his royal manor at
+Villers-Cotterets near by. There was more privacy there, and it formed
+an admirable retreat for such moments when the king did not wish to bask
+in publicity, and these moments were many, though one might not at first
+think so when reading of his affairs of state. There were also affairs
+of the heart which, to him, in many instances, were quite as important.
+This should not be forgotten.
+
+In 1624 a treaty was signed at Compiegne which assured the alliance of
+Louis XIII with the United Provinces, and during this reign the court
+was frequently in residence here. In 1631 Marie de Medici, then a
+prisoner in the palace, made a notable escape and fled, doomed ever
+afterwards to a vagabond existence, a terrible fall for her once proud
+glory, to her death in a Cologne garret ten years later.
+
+In 1635 the Grand Chancellor of Sweden signed a treaty here which
+enabled France to mingle in the affairs of the Thirty Years' War.
+
+During the Fronde, that "Woman's War," which was so entirely
+unnecessary, Anne d'Autriche held her court in the Palace of Compiegne
+and received Christine de Suede on certain occasions when that royal
+lady's costume was of such a grotesque nature, and her speech so
+_chevaleresque_, that she caused even a scandal in a profligate court.
+Anne d'Autriche, too, left Compiegne practically a prisoner; another
+_menage a trois_ had been broken up.
+
+The most imposing event in the history of Compiegne of which the
+chronicles tell was the assembling of sixty thousand men beneath the
+walls by Louis XIV, in order to give Madame de Maintenon a realistic
+exhibition of "playing soldiers." At all events the demonstration was a
+bloodless one, and an immortal page in Saint-Simon's "Memoires"
+consecrates this gallantry of a king in a most subtle manner.
+
+Another fair lady, a royal favourite, too, came on the scene at
+Compiegne in 1769 when Madame du Barry was the principal _artiste_ in
+the great fete given in her honour by Louis XV. She was lodged in a tiny
+chateau (built originally for Madame de Pompadour) a short way out of
+town on the Soissons road.
+
+Du Barry must have been a good fairy to Compiegne for Louis XV lavished
+an abounding care on the chateau and, rather than allow the architect,
+Jacques Ange Gabriel, have the free hand that his counsellors advised,
+sought to have the ancient outlines of the former structure on the site
+preserved and thus present to posterity through the newer work the two
+monumental facades which are to be seen to-day. The effort was not
+wholly successful, for the architect actually did carry out his fancy
+with respect to the decoration in the same manner in which he had
+designed the Ecole Militaire at Paris and the two colonnaded edifices
+facing upon the Place de la Concorde.
+
+This work was entirely achieved when Louis XVI took possession. This
+monarch, in 1780, caused to be fitted up a most elaborate apartment for
+the queen (his marriage with Marie Antoinette was consecrated here), but
+that indeed was all the hand he had in the work of building at
+Compiegne, which has practically endured as his predecessor left it. The
+Revolution and Consulate used the chateau as their fancy willed, and
+rather harshly, but in 1806 its restoration was begun and Charles IV of
+Spain, upon his dethronement by Napoleon, was installed therein a couple
+of years later.
+
+The palace, the park and the forest now became a sort of royal appanage
+of this Spanish monarch, which Napoleon, in a generous spirit, could
+well afford to will him. He lived here some months and then left
+precipitately for Marseilles.
+
+Napoleon affected a certain regard for this palatial property, though
+only occupying it at odd moments. He embellished its surroundings, above
+all its gardens, in a most lavish manner. Virtually, all things
+considered, Compiegne is a _Palais Napoleonien_, and if one would study
+the style of the Empire at its best the thing may be done at Compiegne.
+
+On July 30, 1814, Louis XVIII and Alexander of Russia met at Compiegne
+amid a throng of Paris notabilities who had come thither for the
+occasion.
+
+Charles X loved to hunt in the forest of Compiegne. In 1832, one of the
+daughters of Louis-Philippe, the Princesse Louise, was married to the
+King of the Belgians in this palace.
+
+From 1852 to 1870 the palace and its grounds were the scenes of many
+imperial fetes.
+
+Napoleon III had for Compiegne a particular predilection. The
+prince-president, in 1852, installed himself here for the autumn season,
+and among his guests was that exquisite blond beauty, Eugenie Montijo,
+who, the year after, was to become the empress of the French. Faithful
+to the memory of his uncle, by reason of a romantic sentiment, the Third
+Napoleon came frequently to Compiegne; or perhaps it was because of the
+near-by hunt, for he was a passionate disciple of Saint Hubert. It was
+his Versailles!
+
+The palace of Compiegne as seen to-day presents all the classic coldness
+of construction of the reign of Louis XV. Its lines were severe and that
+the building was inspired by a genius is hard to believe, though in
+general it is undeniably impressive. Frankly, it is a mocking, decadent
+eighteenth century architecture that presents itself, but of such vast
+proportions that one sets it down as something grand if not actually of
+surpassing good taste.
+
+In general the architecture of the palace presents at first glance a
+coherent unit, though in reality it is of several epochs. Its
+furnishings within are of different styles and periods, not all of them
+of the best. Slender gold chairs, false reproductions of those of the
+time of Louis XV, and some deplorable tapestries huddle close upon
+elegant "_bergeres_" of Louis XVI, and sofas, tables and bronzes of
+master artists and craftsmen are mingled with cheap castings unworthy of
+a stage setting in a music hall. A process of adroit eviction will some
+day be necessary to bring these furnishings up to a consistent plane of
+excellence.
+
+One of the facades is nearly six hundred feet in length, with forty-nine
+windows stretching out in a single range. It might be the front of an
+automobile factory if it were less ornate, or that of an exposition
+building were it more beautiful. In some respects it is reminiscent of
+the Palais Royal at Paris, particularly as to the entrance colonnade and
+gallery facing the Louvre.
+
+The chief beauty within is undoubtedly the magnificent stairway, with
+its balustrade of wrought iron of the period of Louis XVI. The Salle de
+Spectacle is of a certain Third Empire-Louis Napoleon distinction, which
+is saying that it is neither very lovely nor particularly plain, simply
+ordinary, or, to give it a French turn of phrase, vulgar.
+
+One of the most remarkable apartments is the Salle des Cartes, the old
+salon of the Aides de Camp, whose walls are ornamented with three great
+plans showing the roads and by-paths of the forest, and other decorative
+panels representing the hunt of the time of Louis XV.
+
+The Chambre a Coucher of the great Napoleon is perhaps the most
+interesting of all the smaller apartments, with its strange bed, which
+in form more nearly resembles an oriental divan than anything European.
+Doubtless it is not uncomfortable as a bed, but it looks more like a
+tent, or camp, in the open, than anything essentially intended for
+domestic use within doors. After the great Napoleon, his nephew Napoleon
+III was its most notable occupant, though it was last slept in by the
+Tzar Nicholas II, when he visited France in 1901.
+
+The sleeping-room of the Empress Eugenie is fitted up after the style of
+the early Empire with certain interpolations of the mid-nineteenth
+century. The most distinct feature here is the battery of linen coffers
+which Marie Louise had had especially designed and built. The Salon des
+Dames d'Honneur, with its double rank of nine "scissors chairs," the
+famous _tabourets de cour_, lined up rigidly before the _canape_ on
+which the empress rested, is certainly a remarkable apartment. This
+was the _decor_ of convention that Madame Sans Gene rendered classic.
+
+[Illustration: _Napoleon's Bedchamber, Compiegne_]
+
+Like all the French national palaces Compiegne has a too abundant
+collection of Sevres vases set about in awkward corners which could not
+otherwise be filled, and, beginning with the vestibule, this thing is
+painfully apparent.
+
+The apartments showing best the Napoleonic style in decorations and
+furnishings are the Salon des Huissiers, the Salle des Gardes, the
+Escalier d'Apollon, the Salle de Don Quichotte--which contains a series
+of designs destined to have served for a series of tapestries intended
+to depict scenes in the life of the windmill knight--the Galerie des
+Fetes, the Galerie des Cerfs, the Salle Coypel, the Salle des Stucs and
+the Salon des Fleurs, through which latter one approaches the royal
+apartments.
+
+In the sixteenth century, or, more exactly, between 1502 and 1510, was
+constructed Compiegne's handsome Hotel de Ville, one of the most
+delightful architectural mixtures of Gothic and Renaissance extant. It
+is an architectural monument of the same class as the Palais de Justice
+at Rouen or the Hotel Cluny at Paris. Its frontispiece is marvellous,
+the _rez-de-chaussee_ less gracious than the rest perhaps, but with the
+first story blooming forth as a gem of magnificent proportions and
+setting. Between the four windows of this first story are posed
+statuesque effigies of Charles VII, Jeanne d'Arc, Saint Remy and Louis
+IX. In the centre, in a niche, is an equestrian statue of Louis XII, who
+reigned when this monument was being built. A _balustrade a jour_
+finishes off this story, which, in turn, is overhung with a high, peaked
+gable, and above rise the belfry and its spire, of which the great clock
+dates from 1303, though only put into place in 1536. The only false note
+is sounded by the two insignificant, cold and unlovely wings which flank
+the main structure on either side.
+
+It is a sixteenth century construction unrivalled of its kind in all
+France, more like a Belgian town-hall belfry than anything elsewhere to
+be seen outside Flanders, but it is not of the low Spanish-Renaissance
+order as are so many of the imposing edifices of occidental and oriental
+Flanders. It is a blend of Gothic and Renaissance, and, what is still
+more rare, the best of Gothic and the best of Renaissance. Above its
+facade is a civic belfry, flanked by two slender towers. Within the
+portal-vestibule rises a monumental stairway which must have been the
+inspiration of many a builder of modern opera-houses.
+
+Opposite the Hotel Dieu is the poor, rent relic of the Tour de Jeanne
+d'Arc, originally a cylindrical donjon of the twelfth century, wherein
+"La Pucelle" was imprisoned in 1430.
+
+Between the palace and the river are to be seen many vestiges of the
+mediaeval ramparts of the town, and here and there a well-defined base of
+a gateway or tower. Mediaevalism is rampant throughout Compiegne.
+
+The park surrounding the palace is quite distinct from the wider radius
+of the Foret de Compiegne. It is of the secular, conventional order, and
+its perspectives, looking towards the forest from the terrace and vice
+versa, are in all ways satisfying to the eye.
+
+One of the most striking of these alleyed vistas was laid out under the
+orders of the first Napoleon in 1810. It loses itself in infinity,
+almost, its horizon blending with that of the far distant Beaux Monts in
+the heart of the forest.
+
+In the immediate neighbourhood of the palace are innumerable statues,
+none of great beauty, value or distinction. On the south side runs a
+Cours, or Prado, as it would be called in Catalonia. The word Cours is
+of Provencal origin, and how it ever came to be transplanted here is a
+mystery. Still here it is, a great tree-shaded promenade running to the
+river. The climate of Compiegne is never so blazing hot as to make this
+Cours so highly appreciated as its namesakes in the Midi, but as an
+exotic accessory to the park it is quite a unique delight.
+
+Within the park may still be traced the outlines of the moat which
+surrounded the palace of Charles V, as well as some scanty remains of
+the same period.
+
+Another distinctive feature is the famous _Berceau en Fer_, an iron
+trellis several thousands of feet in length, which was built by Napoleon
+I as a reminder to Marie Louise of a similar, but smaller, garden
+accessory which she had known at Schoenbrunn. It was a caprice, if you
+like, and rather a futile one since it was before the time when
+artistically worthless things were the rage just because of their
+gigantic proportions. Napoleon III cut it down in part, and pruned it to
+more esthetic proportions, and what there is left, vine and flower
+grown, is really charming.
+
+The Foret de Compiegne as a historic wildwood goes back to the Druids
+who practiced their mysterious rites under its antique shade centuries
+before the coming of the kings, who later called it their own special
+hunting preserve. Stone hatchets, not unlike the tomahawks of the red
+man, have been found and traced back--well, definitely to the Stone
+Age, and supposedly to the time when they served the Druids for their
+sacrifices.
+
+[Illustration: _Cours de Compiegne_]
+
+The soldiers of Caesar came later and their axes were of iron or copper,
+and though on the warpath, too, their way was one which was supposed to
+lead civilization into the wilderness. Innumerable traces of the Roman
+occupation are to be found in the forest by those who know how to read
+the signs; twenty-five different localities have been marked down by the
+archeologists as having been stations on the path blazed by the Legions
+of Rome.
+
+After the Romans came the first of the kings as proprietors of the
+forest, and in the moyen-age the monks, the barons and the crown itself
+shared equally the rights of the forest.
+
+Legends of most weird purport are connected with various points
+scattered here and there throughout the forest, as at the Fosse Dupuis
+and the Table Ronde, where a sort of "trial by fire" was held by the
+barons whenever a seigneur among them had conspired against another.
+Ariosto, gathering many of his legends from the works of the old French
+chroniclers, did not disdain to make use of the Foret de Compiegne as a
+stage setting.
+
+During the reign of Clothaire the forest was known as the Foret de
+Cuise, because of a royal palace hidden away among the Druid oaks which
+bore the name of Cotia, or Cusia. Until 1346 the palace existed in some
+form or other, though shorn of royal dignities. It was at this period
+that Philippe VI divided the forests of the Valois into three distinct
+parts in order to better regulate their exploitation.
+
+The Frankish kings being, it would seem, inordinately fond of _la
+chasse_ the Foret de Compiegne, in the spring and autumn, became their
+favorite rendezvous. Alcuin, the historian, noted this fact in the
+eighth century, and described this earliest of royal hunts in some
+detail. In 715 the forest was the witness of a great battle between the
+Austrasians and the Neustrians.
+
+Before Francis I with his habitual initiative had pierced the eight
+great forest roads which come together at the octagon called the Puits
+du Roi, the forest was not crossed by any thoroughfare; the nearest
+thing thereto was the Chaussee de Brunhaut, a Roman way which bounded it
+on the south and east.
+
+Louis XIV and Louis XV, in turn, cut numerous roads and paths, and to
+the latter were due the crossroads known as the Grand Octagone and the
+Petit Octagone.
+
+It was over one of these great forest roads, that leading to Soissons,
+that Marie Louise, accompanied by a cortege of three hundred persons,
+eighty conveyances and four hundred and fifty horses, journeyed in a
+torrential rain, in March 1807, when she came to France to found a
+dynasty.
+
+A marriage had been consummated by procuration at Vienna, and she set
+out to actually meet her future spouse for the first time at Soissons.
+At the little village of Courcelles, on the edge of the forest between
+Soissons and Compiegne, two men enveloped in great protecting cloaks had
+arrived post-haste from Compiegne. At the parish church they stopped a
+moment and took shelter under the porch, impatiently scanning the
+horizon. Finally a lumbering _berlin de voyage_ lurched into view, drawn
+by eight white horses. In its depths were ensconced two women richly
+dressed, one a beautiful woman of mature years, the other a young girl
+scarce eighteen years.
+
+The most agitated of the men, he who was clad in a gray redingote,
+sprang hastily to the carriage door. He was introduced by the older
+woman as "_Sa Majeste l'Empereur des Francaises, mon frere_." The
+speaker was one of the sisters of Napoleon, Caroline, Queen of Naples;
+the other was the Archduchess Marie Louise, daughter of Franz II,
+Emperor of Austria.
+
+An imposing ceremonial had been planned for Soissons and the court had
+been ordered to set out from Compiegne with the emperor, in order to
+arrive at Soissons in due time. When the actual signal for the departure
+was given the emperor was nowhere to be found. As usual he had
+anticipated things.
+
+For weeks before the arrival of the empress to be Napoleon had passed
+the majority of his waking hours at Paris in the apartments which he had
+caused to be prepared for Marie Louise. He selected the colour of the
+furnishings, and superintended the very placing of the furniture. Among
+other things he had planned a boudoir which alone represented an
+expenditure of nearly half a million francs.
+
+Lejeune, who had accompanied Marechal Berthier to Vienna to arrange the
+marriage, had returned and given his imperial master a glowing
+description of the charms of the young archduchess who was to be his
+bride. The emperor compared his ideal with her effigy on medals and
+miniatures and then worked even more ardently than before that her
+apartments should be worthy of her when she arrived.
+
+It was just following upon this fever of excitement that Napoleon and
+the court had repaired to Compiegne. So restless was the emperor that
+he could hardly bide the time when the archduchess should arrive, and it
+was thus that he set out with Murat to meet the approaching cortege.
+
+The pavilion which had been erected for the meeting was left to the
+citizens of the neighbourhood, and the marvellous banquet which had been
+prepared by Bausset was likewise abandoned. Napoleon had no time to
+think of dining.
+
+All the roadside villages between Soissons and Compiegne were hung with
+banners, and the populace appeared to be as highly excited as the
+contracting parties. It still rained a deluge, but this made no
+difference. Two couriers at full gallop came first to Compiegne, crying:
+"Place": "Place": The eight white horses and the _berlin de voyage_
+followed. Before one had hardly time to realize what was passing,
+Napoleon and his bride whisked by in a twinkling.
+
+At nine o'clock an outpost in the park at Compiegne announced the
+arrival of the emperor and his train. At ten o'clock a cannon shot rang
+out over the park and the emperor and empress passed into the chateau to
+proceed with certain indispensable presentations; then to souper, a
+_petite souper intime_, we are assured.
+
+On the morrow all the world of the assembled court met the empress and
+avowed that she had that specious _beaute du diable_ which has ever
+pleased the French connoisseur of beautiful women. They went further,
+however, and stated that in spite of this ravishing beauty she lacked
+the elegance which should be the possession of an empress of the French.
+The faithful Berthier silenced them with the obvious statement that
+since she pleased the emperor there was nothing more to be said, or
+thought.
+
+Flying northward on the great highroad leading out from Paris to
+Chantilly and Compiegne gadabout travellers have never a thought that
+just beyond Pont Saint Maxence, almost in plain view from the doorway of
+the Inn of the Lion d'Argent of that sleepy little town, is a gabled
+wall which represents all that remains of the "Maison de Philippe de
+Beaumanoir," called the Cour Basse.
+
+THE END
+
+
+
+
+INDEX
+
+
+   _Aiguillon_, Duchesse d', 217
+
+   _Alcuin_, 358
+
+   _Alexander_, Emperor, 221, 330, 349
+
+   _Alphonse XIII of Spain_, 7
+
+   Amboise, 26, 28, 86
+
+   _Amboise, Bussy d'_, 72
+
+   _Ancre, Marechal d'_, 67
+
+   _Andelot, Coligny d'_, 72-73
+
+   _Andilly, Arnauld d'_, 267
+
+   Anet, Chateau d', 29, 111
+
+   _Angennes, Jacques d'_, 44, 299, 311
+
+   Angers, Chateau d', 22
+
+   _Anglas, Boissy d'_, 114
+
+   _Angouleme, Duchesse d'_, 321
+
+   _Anjou, Ducs d'_, 22, 136, 212
+
+   _Anne of Austria_, 96-97, 136-137, 284-287, 289, 347
+
+   _Arc, Jeanne d'_, 345-346, 354
+
+   Ardennes, 54
+
+   Arlors, 25
+
+   _Artois, Comtesse d'_, 176
+
+   _Aubert, Jean_, 333
+
+   _Aubigne, D'_, 299
+
+   _Aumale, Duc d'_, 29, 327, 331-332, 335, 338, 339
+
+   _Auvergne, Louis d'_, 162-163
+
+   _Ayen, Duc d'_, 299
+
+
+   Bagatelle, Chateau de, 163, 203-206
+
+   _Bailly, Sylvain_, 104
+
+   _Barbes_, 173
+
+   Barbison, 200-201
+
+   _Baril, Jean_, 25
+
+   _Barry, Mme. du_, 211, 242-243, 245, 250, 275, 329, 348
+
+   _Bassompierre_, 195, 262
+
+   Bastille, 71, 145, 173
+
+   _Bausset_, 361
+
+   _Baviere, Isabeau de_, 69, 151, 182
+
+   _Beauharnais, Eugene_, 220, 222
+
+   _Beauharnais, Hortense_, 215, 220, 221
+
+   _Beaujon_, 164
+
+   _Beaumont, Cardinal de_, 179
+
+   Beauvais, Hotel de, 11
+
+   _Becker, General_, 221
+
+   _Becket, Thomas a_, 182
+
+   _Bedford, Duke of_, 69
+
+   _Belleveu_, 241-242
+
+   _Berquin, Louis de_, 67
+
+   _Berry, Duc de_, 165
+
+   _Berry, Duchesse de_, 50, 321
+
+   _Berthier, Marechal_ (see _Wagram, Prince de_)
+
+   _Blanchard_, 130
+
+   _Blanqui_, 173
+
+   _Blois_, 21, 26, 305
+
+   _Blondel_, 37
+
+   _Blucher_, 173, 209
+
+   _Boileau_, 328
+
+   Boissy, Forest of, 49
+
+   _Bonaparte, Caroline_, 359
+
+   _Bonaparte, Jerome_, 147
+
+   _Bonaparte, Louis_, 235
+
+   _Bonaparte, Lucien_, 145
+
+   _Bonheur, Rosa_, 202
+
+   _Bordeaux, Duc de_, 166
+
+   _Borghese, Princesse_, 208
+
+   _Bossuet_, 328
+
+   _Boulanger_, 200
+
+   _Boullee_, 164
+
+   Boulogne, Bois de, 168, 174, 175, 203, 206, 209
+
+   _Bourbon Family_, 164-165, 329, 331, 341
+
+   Bourbon, Palais, 120, 159-161
+
+   _Bourdaloue_, 328
+
+   Bourg-la-Reine, 3
+
+   _Boyceau_, 30, 262, 270
+
+   _Breton, Mme. de_, 121-122
+
+   _Brunet_, 223
+
+   _Brunswick, Duchesse de_, 154
+
+   _Bullant, Jean_, 109, 327, 336
+
+
+   _Cadoudal_, 173
+
+   _Cambaceres, Consul_, 115-116
+
+   Cardinal, Palais (_see_ Royal, Palais)
+
+   _Carpeaux_, 118
+
+   _Carrier-Belleuse_, 202
+
+   _Cartouche_, 67
+
+   _Cellini_, 182, 192
+
+   _Chabanne, Comte de_, 73
+
+   _Chabrol_, 147
+
+   _Chalgrin_, 154
+
+   _Chambiges, Pierre_, 91, 281-282
+
+   Chamblay, 54-56
+
+   Chambord, 71, 86, 310
+
+   _Chamillard, Michael_, 252-253
+
+   _Champaigne, Philippe de_, 135
+
+   _Champollion-Figeac_, 184
+
+   Chantilly, Chateau and Forest of, 324-340, 362
+
+   _Chappell, Comte des_, 72
+
+   Charenton, 152
+
+   _Charlemagne_, 18, 116, 281
+
+   _Charles II_, 344
+
+   _Charles V_, 22, 23, 25, 62-63, 66, 68, 77, 82-84, 170, 190, 247, 281,
+      327, 344, 356
+
+   _Charles VI_, 63, 66, 69, 176-177, 229
+
+   _Charles VII_, 69, 182, 190, 346, 354
+
+   _Charles VIII_, 21, 299
+
+   _Charles IX_, 89, 91-94, 106, 108-110, 171, 209, 291, 312, 327
+
+   _Charles X_, 57, 108, 118, 146, 173, 192, 204, 212, 237-238, 303,
+      317, 319-320, 349
+
+   _Charles IV, Emperor_, 63
+
+   _Charles V, Emperor_, 85, 88, 346
+
+   _Charles I, of England_, 104, 137, 289
+
+   _Charles the Bold of Burgundy_ (see _Charolais, Comte de_)
+
+   _Charolais, Comte de_, 177-178
+
+   _Chartres, Ducs de_ (see _Orleans, Ducs de_)
+
+   _Chateauroux, Mme. de_, 250
+
+   _Chatou_, 210
+
+   Chenonceaux, 26, 32, 71
+
+   _Chevalier, Etienne_, 339
+
+   _Childerbert I_, 216
+
+   _Christina, Queen_, 222
+
+   _Cinq-Mars_, 73, 134
+
+   _Clagny, Chateau de_, 228, 277
+
+   _Clement, Jacques_, 93, 230-232
+
+   _Clothaire_, 357
+
+   _Clotilde_, 61
+
+   _Clovis_, 61, 76, 216
+
+   _Coictier, Jacques_, 66, 152
+
+   _Colbert_, 3, 87, 98, 100, 269
+
+   _Coligny, Admiral_, 93
+
+   _Collo, Jean_, 27
+
+   _Commynes_, 177
+
+   Compiegne, Palace and Forest of, 52-53, 165, 232, 335, 342-362
+
+   Conciergerie, 61, 65-68
+
+   _Conde Family_, 73, 269, 324, 327-331, 333, 337, 339
+
+   Conflans, Chateau de, 2, 175-179
+
+   _Constantine, Emperor_, 344
+
+   Consulat, Palais du (_see_ Luxembourg, Palais du)
+
+   _Conti Family_, 211, 242, 327
+
+   _Corneille_, 73, 133, 151
+
+   _Corot_, 200
+
+   _Cottereau, Jean_, 299, 300-305, 307
+
+   Courcelles, 359
+
+   _Cousin, Jean_, 170
+
+   _Coypel_, 137
+
+   _Cromwell_, 137
+
+   _Crozat_, 162
+
+   _Dagobert_, 54
+
+   _Damiens_, 67, 263-264
+
+   _Dante_, 24
+
+   _Dardelle_, 123
+
+   _Daru_, 100
+
+   _Daubigny_, 200
+
+   _Daumesnil, Baron_, 173
+
+   _Daumet, Henri_, 332
+
+   _Debanes_, 22
+
+   _Debrosse, Jacques_, 64, 154, 158
+
+   _Decamps_, 202, 338
+
+   _Delille, Abbe_, 143
+
+   _Delorme, Marion_, 73
+
+   _Delorme, Philibert_, 34, 108-111, 189
+
+   _Denecourt_, 198-199, 201
+
+   Deputes, Chambre des (_see_ Bourbon, Palais)
+
+   _Desmoulins, Camille_, 145
+
+   _Diaz_, 200
+
+   Directoire, Palais du (_see_ Luxembourg, Palais du)
+
+   _Donon_, 100
+
+   _Dorbay_, 110
+
+   _Drouais_, 211
+
+   _Ducamp, Maxine_, 126
+
+   _Ducerceau_, 92, 94, 110, 112
+
+   _Ducrot, General_, 222
+
+   _Dugastz_, 232
+
+   _Dupaira_, 95
+
+   _Duperac_, 110
+
+   _Dupre_, 200
+
+   _Durfort, Madame_, 49
+
+
+   Egalite, Palais (_see_ Royal, Palais)
+
+   Enghien, Chateau d', 340
+
+   _Enghien, Duc d'_, 169, 172-174, 331
+
+   _Epernon, Ducs d'_, 103, 232
+
+   _Erard, Sebastian_, 210
+
+   _Este, Maria d'_, 290
+
+   Estival, Convent of, 49
+
+   _Estrees, Gabrielle d'_, 102, 210
+
+   _Etampes, Duchesse d'_, 86, 185, 192, 294
+
+   _Etoiles, Normand d'_, 204
+
+   _Eugenie, Empress_, 120-122, 125-126, 238, 350, 352
+
+   _Evans, Dr._, 122
+
+
+   _Fallieres, President_, 166-167
+
+   _Famin_, 314-315
+
+   _Faure, Felix_, 56, 58-59
+
+   _Feraud_, 114
+
+   _Ferrare, Duc de_, 70
+
+   _Flandre, Comte de_, 82
+
+   _Flavy, Guillaume de_, 345
+
+   Fleury, Chateau de, 195
+
+   _Fontaine_, 99, 127
+
+   Fontainebleau, Forest of, 6, 50, 52, 181, 183, 196-202, 279, 294
+
+   Fontainebleau, Palais de, 2, 26, 28, 33, 34, 87, 91, 111, 180-196,
+     329, 335, 336
+
+   _Fouche_, 221
+
+   _Fould_, 53
+
+   _Fouquet, Jean_, 339
+
+   _Fouquet, Nicolas_, 269
+
+   _Fragonard_, 211
+
+   _Francine, Thomas and Alexandre_, 196
+
+   _Francis I_, 8, 10, 12, 16, 21, 32, 44-45, 62, 64, 67, 77, 79, 81,
+      84-89, 108, 110, 170, 181, 183-187, 189-191, 194, 209, 229, 281-282,
+      290, 292, 299, 306, 310-311, 321, 326, 346, 358
+
+   _Franz II_, 359
+
+
+   _Gabriel_, 276, 348
+
+   Gaillon, Chateau de, 33
+
+   _Ganne, Pere_, 200
+
+   _Girardini_, 160
+
+   Gisors, Castle of, 82
+
+   _Gondi_, 230, 232
+
+   _Goujon, Jean_, 89, 90
+
+   Grand Trianon, 39, 248, 258, 259, 260, 263, 264, 274-276
+
+   _Gregory of Tours_, 215
+
+   _Grevy, Jules_, 58
+
+   _Gros, Baron_, 338
+
+   Grosbois, Chateau de, 51
+
+   _Guilbert, Abbe_, 184
+
+   _Guillain, Guillaume_, 282
+
+   _Guise, Ducs de_, 70, 72-73, 103
+
+
+   _Hamon_, 200
+
+   _Harlay-Crauvallon, Archbishop De_, 178-179
+
+   _Haussmann, Baron_, 3, 13, 152
+
+   _Hebert_, 201
+
+   _Hennequin, Dame Gillette_, 178
+
+   _Henri II_, 26, 32, 44, 69-70, 78, 85, 87, 89, 90, 91, 108, 110, 170,
+      193, 229, 230, 282, 294-295, 311, 327
+
+   _Henri III_, 29, 92-93, 101, 109, 230-232, 312
+
+   _Henri IV_, 16, 26, 27, 29, 45-46, 71-72, 87, 89, 92, 94-95, 102-103,
+      111-112, 118, 172, 186, 190, 191, 194-197, 206, 209, 210, 231, 232,
+      238, 282-283, 306, 327
+
+   _Henrietta of England_, 233, 289
+
+   _Henriette de France_, 104, 137
+
+   _Henry V of England_, 63, 326
+
+   _Henry VI of England_, 63, 69
+
+   _Henry VIII of England_, 311
+
+   Herivaux, Bois de, 340
+
+   _Hohenzollern, Prince de_, 53
+
+   _Hortense, Queen_, 330
+
+   _Hugo, Victor_, 73
+
+   _Hugues Capet_, 62
+
+
+   Institut, Palais de l', 159-160
+
+   _Isabey_ (_Pere_), 40
+
+
+   _Jacob of Cologne_, 87
+
+   _Jacque_, 200
+
+   _James II of England_, 290
+
+   _Jarnac, Gui Chabot de_, 294
+
+   _Joachim, Prince_, 52, 56
+
+   _John II of France_, 83, 170
+
+   _John VIII, Pope_, 344
+
+   Joinville, Forest of, 169
+
+   _Josephine, Empress_, 174, 215, 217-222, 323
+
+   Justice, Palais de (_see_ La Cite, Palais de)
+
+
+   _Karr, Alphonse_, 149
+
+
+   _La Barauderie, De_, 30
+
+   _Labaudy_, 50
+
+   _La Brosse_, 102
+
+   La Cite, Palais de, 12, 61-68, 75, 81, 82, 93, 152, 153, 170
+
+   _La Chataigneraie_, 294
+
+   _Laffitte, Pierre_, 212, 213, 243
+
+   _Lambesc, Prince de_, 144
+
+   La Muette, Chateau de, 111, 203, 209-210
+
+   _Lancret_, 338
+
+   Langeais, 33
+
+   _Lannes, Marechal_, 213
+
+   _Laporte_, 284
+
+   _La Quintinye_, 267-269
+
+   La Reine Blanche, Chateau de, 341
+
+   _Laschant_, 232
+
+   _Latini, Brunetto_, 24
+
+   _Lauzan_, 178, 289
+
+   _La Valliere, Louise de_, 289
+
+   _Lebrun, Charles_, 97, 255, 256
+
+   _Lebrun, Consul_, 115
+
+   _Le Calabrese, Henri_, 27
+
+   _Lecouteux de Canteleu_, 217, 222
+
+   _Ledoux_, 211, 243
+
+   _Lefuel_, 100
+
+   _Lejeune_, 360
+
+   _Leloir_, 239
+
+   L'Elysee, Palais de, 153, 162-167
+
+   _Lemercier, Jacques_, 96, 100, 135, 262
+
+   _Le Moyne_, 239
+
+   _Le Notre_, 16, 22, 25, 26, 28, 30, 31, 35, 39, 40, 104, 128, 129-130,
+      179, 233, 248, 264-266, 270, 277, 288, 292, 307-308, 327, 330
+
+   _Lepaute_, 240
+
+   _Le Roy_, 262
+
+   Les Bruyeres, 222
+
+   _Lescot, Pierre_, 88-90, 109
+
+   _Lesdiguieres, Duchesse de_, 179
+
+   _Levau_, 97-98, 110, 247, 249
+
+   _Lomenci, Martial de_, 247
+
+   _Longueil, Rene de_, 212
+
+   _Longueville, Mme. de_, 73, 327
+
+   _Loret_, 11
+
+   _Lorraine, Cardinal de_, 111
+
+   _Lorraine, Chevalier de_, 233
+
+   _Louis I_, 344
+
+   _Louis V_, 344
+
+   _Louis VI_, 281
+
+   _Louis VII_, 169, 181, 182
+
+   _Louis IX_, 23, 62, 77, 169, 176, 182, 190, 281, 295, 341, 344, 354
+
+   _Louis XI_, 21, 66, 69, 152, 172, 177-178, 299, 326
+
+   _Louis XII_, 26, 69, 299, 305, 306, 326, 354
+
+   _Louis XIII_, 16, 48, 87, 96, 112, 132, 134, 136, 171, 189, 190, 194,
+      209, 247, 249, 262, 266, 283-284, 306, 347
+
+   _Louis XIV_, 11, 12, 14, 16, 17, 29, 33, 38, 39, 46, 48, 49, 50, 85,
+      87, 97-99, 104, 112, 118, 127, 136-137, 152, 158, 170, 178, 186,
+      189, 190, 206, 217, 223-224, 226, 233, 240, 245, 247, 249, 251-253,
+      255-257, 261, 264, 268, 270, 273, 274, 277, 283, 284, 288-290, 291,
+      293, 296, 297, 299, 303-307, 312, 328, 345, 347, 358
+
+   _Louis XV_, 4, 14, 16, 17, 38, 48, 112, 152, 162, 163, 174, 185, 186,
+      189, 190, 192, 205, 207, 209, 211, 227, 241, 243, 246, 250, 253,
+      263-264, 275-276, 284, 290, 312, 320, 323, 329, 345, 348, 350-352,
+      358
+
+   _Louis XVI_, 37, 39, 41, 43, 57, 108, 113, 118, 143, 144, 152, 154,
+      210, 213, 227, 250, 261, 235-236, 352, 356, 358-362, 290, 312-313,
+      316, 320, 322, 348, 351
+
+   _Louis XVIII_, 118, 161, 174, 237, 250, 316, 349
+
+   _Louis Philippe_, 105, 108, 117-118, 146, 149, 154, 162, 166, 186, 194,
+      199, 207, 238, 254-255, 350 (_see also Orleans Family_)
+
+   Louveciennes, Chateau de, 210-212, 242, 288
+
+   Louvre, 4, 12, 13, 22, 25, 32, 44, 62, 68, 75-105, 108, 109, 110, 111,
+      112, 118, 124, 131, 132, 152, 233, 351
+
+   _Lude, Comtesse de_, 49
+
+   _Luxembourg, Jean de_, 346
+
+   Luxembourg, Palais de, 28, 40, 115, 136, 144, 153-158
+
+
+   Machine de Marly, 223-224
+
+   Madrid, Chateau de, 111
+
+   _Magnan, Marechal_, 242
+
+   _Maine, Duc de_, 159
+
+   Maintenon, Chateau de, 242, 296-308, 312
+
+   _Maintenon, Mme. de_, 158-159, 194, 227, 249, 274, 296-299, 302-303,
+      305-308, 312, 347
+
+   Maisons-Laffitte, Chateau de, 203, 212-214, 288
+
+   Malmaison, Chateau de, 215-223, 323
+
+   _Mandrin_, 67
+
+   _Mansart, Francois_, 212-213
+
+   _Mansart, Jules Hardouin_, 35, 137, 179, 226, 233, 241, 249, 274, 276,
+      291, 327, 333
+
+   Mantes, 55
+
+   _Mantes, Mlle. de_, 159
+
+   _Marat_, 116
+
+   _Marceliano, Pucello and Edme_, 26
+
+   _Marie Antoinette_, 49, 115, 194, 204, 210, 237, 245, 256, 276-277, 320,
+      322, 349
+
+   _Marie Louise_, 6, 117, 208
+
+   _Marie Sophie_, 320
+
+   _Marie Therese_, 11
+
+   _Marigny, Enguerrand de_, 62, 172
+
+   _Marigny, Marquis de_, 99
+
+   Marlotte, 201
+
+   Marly-le-Roi (_or_ -le-Bourg _or_ -le-Chatel), 2, 224-228, 283, 288
+
+   _Mary Tudor, of England_, 69
+
+   Marseilles, 91
+
+   _Massena, Duc de_, 217
+
+   _Masson, Frederic_, 236
+
+   _Matignon, Marechal de_, 70
+
+   _Mayenne, Duc de_, 101
+
+   _Mazarin, Cardinal_, 87, 104, 136, 159, 169, 283-285
+
+   Mazarin, Palais (_see_ Institut, Palais de l')
+
+   _Medici, Catherine de_, 26, 31, 33, 44, 48, 68, 69-71, 90-91, 93-94,
+      97, 107, 108, 110, 111, 171, 195, 230, 247, 311
+
+   _Medici, Marie de_, 72, 103, 154, 155, 158, 206, 347
+
+   _Menars et de Marigny, Marquis de_, 163
+
+   _Menours, Jacques de_, 30, 262-263
+
+   _Mercogliano_, 18
+
+   _Messonier_, 338
+
+   _Metezeau, Thibaut_, 92, 94
+
+   _Metternich, Prince de_, 121
+
+   Meudon, Bois de, 240
+
+   Meudon, Chateau de, 34, 111
+
+   _Michelet_, 192
+
+   _Mignard_, 233, 239, 306
+
+   _Millet, Eugene_, 290, 291
+
+   _Millet, Jean Francois_, 200, 201
+
+   _Mirabeau_, 172
+
+   _Moliere_, 73, 104, 178, 249
+
+   Molineaux, Chateau de, 278
+
+   _Mollet, Claude_, 29, 30
+
+   _Mollien_, 100
+
+   _Monconseil, Marquise de_, 204
+
+   _Mongomere, Comte de_, 67
+
+   _Montansier, Duc de_, 269
+
+   Montargis, 28
+
+   _Montebello, Marechal de_, 213
+
+   _Montespan, Marquise de_, 159, 249, 275, 312
+
+   _Montesson, Marquise de_, 234
+
+   Montgaillard, 50
+
+   _Montgolfier_, 130
+
+   _Montgomeri, Sieur de_, 70
+
+   Montmartre, 288
+
+   _Montmorency Family_, 178, 324, 326-327, 339
+
+   Montmorency, Forest of, 49, 288
+
+   _Montpensier, Mlle. de_, 136
+
+   _Moreau, Architect_, 138
+
+   _Moreau, Hegesippe_, 123-124
+
+   _Moskowa, Prince de la_, 53
+
+   _Muette, Chateau de la_, 111
+
+   _Murat, Princes de_, 52-56, 165, 235, 361
+
+   _Murillo_, 164
+
+   Musee de Cluny, 12
+
+   _Musset, De_, 274
+
+
+   _Nacret_, 239
+
+   Nanterre, 281
+
+   _Nanteuil, Celestin_, 200
+
+   _Napoleon I_, 6, 13, 40, 51-52, 57, 79, 88, 100, 108, 115-118, 127,
+      129, 145, 154, 155, 160, 165, 171, 173-174, 180, 186, 187-188, 190,
+      194, 208, 213, 217-222, 235-237, 250, 254, 274, 296, 298, 313-316,
+      320, 321, 322, 345, 349, 352, 355-356, 359-362
+
+   _Napoleon III_, 13, 58, 92, 100, 105, 118-122, 147, 152, 166, 195,
+      197, 222, 238, 290, 313, 318, 323, 345, 350-352, 356
+
+   _Nattier_, 338
+
+   _Neckar_, 144
+
+   _Nemours, Duc de_, 70
+
+   _Neufforge, De_, 37
+
+   Neuilly and its Chateau, 206-209, 238
+
+   _Nicholas II_, 352
+
+   _Nicolo dell' abbate_, 193
+
+   _Nigra, Chevalier_, 121
+
+   _Noailles, Ducs de_, 298-300, 306
+
+   Noisy, Chateau de, 278
+
+   _Nolhac, M. de_, 274
+
+
+   _Olivier, Emile_, 125
+
+   _Oppenard_, 137
+
+   _Orgemont, Marguerite d'_, 326
+
+   _Orleans, Ducs d'_, 137-140, 143, 144-149, 161, 209, 233, 234,
+      286-287, 337
+
+   Orleans, Palais d' (_see_ Royal, Palais)
+
+   _Ormesson, D'_, 73
+
+   _Osman_, 230-231
+
+   _Oursins, Juvenal des_, 66
+
+
+   _Palatine, Princesse_, 233
+
+   _Palissy, Bernard_, 31-32
+
+   _Panseron_, 37
+
+   _Pare, Ambroise_, 171
+
+   _Paul, Saint Vincent de_, 73
+
+   _Penthievre, Duc de_, 306, 312, 322
+
+   _Pepin-le-Bref_, 343
+
+   _Percier_, 100, 127
+
+   _Perrault, Charles_, 98-99
+
+   Petit Luxembourg, Palais du, 155, 157
+
+   Petit Trianon, 39, 260, 264, 274, 276-277, 329
+
+   _Pfnor_, 184
+
+   _Philippe Auguste_, 12, 62, 77, 80-82, 169, 182, 190
+
+   _Philippe III_, 62, 177
+
+   _Philippe IV_, 62, 170, 176, 182, 190, 295
+
+   _Philippe VI_, 170, 358
+
+   _Philippe II, of Spain_, 69
+
+   _Philippe-Egalite_, 138-139
+
+   _Picard, Achille_, 125
+
+   _Pichegreu_, 173
+
+   Pierrefonds, 290, 335
+
+   _Pisan, Christine de_, 23
+
+   _Pius VII_, 6, 115, 194, 235
+
+   _Poirson_, 184
+
+   _Poissin_, 164
+
+   Poissy, 23, 232, 292, 293
+
+   _Poitiers, Diane de_, 29, 44, 70-71, 193
+
+   _Pompadour, Mme. de_, 163, 204-205, 241-242, 246, 250, 275, 348
+
+   _Potter, Paul_, 164
+
+   _Poussin_, 338
+
+   _Prieur, Barthelemy_, 196
+
+   _Primaticcio_, 87, 188, 192, 193
+
+   _Provence, Comte de_, 154
+
+
+   Quatre Nations, Palais des (_see_ Institut, Palais de l')
+
+
+   _Rabelais_, 322
+
+   _Racine_, 297, 303, 308, 328
+
+   Rambouillet, Chateau and Forest of, 44-45, 50, 55-59, 242, 296, 298,
+      309-323, 328, 335, 336
+
+   _Rambouillet, Seigneur de_, 299
+
+   _Raphael_, 87, 170
+
+   _Raspail_, 173
+
+   _Ravaillac_, 67, 102
+
+   _Redon_, 128
+
+   _Regnier, Henri de_, 244
+
+   _Remusat, Mme. de_, 174, 219
+
+   _Retz, Marechal de_, 247
+
+   Revolution, Palais de la (_see_ Royal, Palais)
+
+   _Richelieu, Cardinal_, 72, 73, 95, 100, 131-139, 151, 178, 179, 216-217
+
+   _Rigaud_, 307
+
+   _Rigby_, 334
+
+   _Robert II_, 62, 190, 281
+
+   _Rochefort, Henri_, 120-121
+
+   _Romain, Mme._, 141
+
+   _Ronsard_, 34, 90, 109, 111
+
+   _Roosevelt, Theodore_, 166-167
+
+   _Rosier, De_, 210
+
+   _Rosny_, 55
+
+   _Rosso_, 182, 192
+
+   _Rousseau, Theodore_, 200, 201
+
+   _Rousselle_, 123
+
+   Rouvray, Forest of, 229
+
+   _Rovigo, Duc de_, 221
+
+   Royal, Palais, 131-150, 284, 351
+
+   Royale, Place (_see_ Vosges, Place des)
+
+   _Rubens_, 164
+
+   Rueil (_see_ Malmaison)
+
+
+   _Sadi-Carnot_, 58
+
+   Saint Cloud, Palais de, 13, 93, 228, 229-243
+
+   Saint Cyr, 296-298, 303
+
+   Saint Germain-en-Laye, 28, 91, 111, 136, 203, 206, 223, 232, 242, 256,
+      279-295, 311, 324, 336, 345
+
+   Saint Germain, Forest of, 212, 292-295
+
+   _Saint James, Baudart de_, 208
+
+   _Saint Louis_ (see _Louis IX_)
+
+   Saint Maur, Chateau de, 111
+
+   _Saint Ouen_, 54
+
+   _Saint-Simon_, 179, 262, 348
+
+   _Sarto, Del_, 192
+
+   _Savoie, Louise de_, 108
+
+   _Savoie, Philippe de_, 66
+
+   _Scarron, Mme._ (see _Maintenon, Mme. de_)
+
+   _Schickler, Baron_, 318
+
+   _Schopin_, 195
+
+   Senat, Palais du (_see_ Luxembourg, Palais du)
+
+   Senlis, 6
+
+   Senlis, Foret de, 340
+
+   _Senlis, Seigneurs de_, 324
+
+   _Seran, Comtesse de_, 275
+
+   _Serlio_, 88, 185
+
+   _Serres, Olivier de_, 33
+
+   _Servandoni_, 112
+
+   _Sevigne, Mme. de_, 179, 277, 328
+
+   Soissons, 359-361
+
+   _Soyecourt, Marquis de_, 212
+
+   _Sualem, Rennequin_, 223
+
+   _Sully, Duc de_, 102, 103
+
+
+   _Talmon, Prince de_, 73
+
+   _Tesse, Marquis de_, 73
+
+   Thermes, Palais des, 12, 62, 153
+
+   _Thierry III_, 224
+
+   _Thiers, President_, 122-123
+
+   Thomery, 202
+
+   _Thou, De_, 73
+
+   Temple, The, 144
+
+   _Tiercelin, Jean_, 108
+
+   Tillet, Maison du, 232
+
+   _Toulouse, Comte de_, 321
+
+   _Toulouse, Comtesse de_, 312, 320
+
+   Tournelles, Palais des, 66, 68-71, 81, 152
+
+   _Trepsat_, 313-314
+
+   Trianon (_see_ Grand Trianon)
+
+   _Triboulet_, 186
+
+   Tribunat, Palais du (_see_ Royal, Palais)
+
+   _Trochu, General_, 120
+
+   Tuileries, Palace and Gardens of the, 3, 13, 31, 33-34, 40, 76, 78, 82,
+      91, 92, 94, 106-130, 131, 155, 157, 166, 218, 227, 317
+
+   _Turenne_, 73
+
+   _Turgot_, 100
+
+
+   Valerian, Mont, 288
+
+   _Vallet, Pierre_, 27
+
+   _Valois, Charles, Comte de_, 170
+
+   _Valois, Elizabeth de_, 69
+
+   _Valois, Marguerite de_ (1492-1549), 8, 10
+
+   _Valois, Marguerite de_ (1553-1615), 10, 69, 111, 209
+
+   _Van Loo_, 164
+
+   _Vasari_, 181
+
+   _Vauban_, 252
+
+   Vaux-le-Vicomte, 36, 42
+
+   _Vendome, Duc de_, 102, 206
+
+   _Vernet, Joseph_, 164, 239
+
+   _Verneuil, Marquis de_, 207
+
+   _Veronese_, 338
+
+   Versailles, 2, 36, 42, 85, 88, 99, 112, 118, 145, 163, 180, 196, 205,
+      215, 223-224, 226, 228, 239, 240, 242, 244-278, 279, 283, 296, 305,
+      324, 334, 335, 336, 350
+
+   Vesinet, Bois de, 288
+
+   _Vexin, Comte de_, 159
+
+   _Vignole_, 188
+
+   _Vignon_, 113
+
+   Villa Normande, 54
+
+   _Villeray, Marquis de_, 299
+
+   _Villeroy, Marquis Neuville de_, 108
+
+   _Villeroy, Marechal de_, 178
+
+   Villers-Cotterets, 28, 165, 346
+
+   Vincennes, Chateau de, 168-175, 331, 345
+
+   Vincennes, Bois de, 168, 174-175, 177
+
+   _Vinci, Leonardo da_, 87, 192
+
+   _Visconti_, 100
+
+   _Vivonne, Francois de_, 294
+
+   _Voltaire_, 263
+
+   _Von Ostade_, 164
+
+   Vosges, Place des, 71-74, 152.
+
+
+   _Wagram, Prince de_, 51, 52, 360, 362
+
+   _Wallace, Sir Richard_, 205
+
+   _Wellington_, 208-209
+
+   _William I, Emperor_, 255
+
+   _Wolsey_, 132
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK ROYAL PALACES AND PARKS OF FRANCE***
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