The Story of Versailles.

by Francis Loring Payne.

INTRODUCTION

A TRAVELER'S REFLECTIONS ON VERSAILLES

From the low heights of Satory we get a complete view of the plains of Versailles--the woods, the town and the sumptuous chateau. The palace on its dais rules the scene. The village and ornamental environment have been constructed to augment its majesty. Even the soil has been "molded into new forms" at a monarch's caprice. Versailles is the expression of monarchy, as conceived by Louis XIV. It is the only epic produced in his reign--a reign so fertile in the other forms of poetry, and in talent of all kinds. What epic ever chronicled the destiny of an epoch in a manner more brilliant and complete? In this poem of stone the manners of heroic and familiar life mingle at every step.

Besides the halls and galleries, the theaters of royal estate, there are mysterious pa.s.sages and sequestered nooks that whisper a thousand secret histories. The palace has two voices, one grave and one gay and trifling. It is full of truths and fictions, tears and smiles. The personages of its drama are as various as life itself; kings, poets, ministers, courtiers, confessors, courtesans, queens without power, and queens with too much power; amba.s.sadors, generals, little abbes and great ladies; n.o.bles, clergy, even the people. For two centuries did this crowd continue to pa.s.s and re-pa.s.s over these marble floors and under these gilded vaults; and every day its flood became more impetuous, every day it gave way more and more to the whims and pa.s.sions. And the palace heard all, saw all, spied all--and has retained all, each action in its acted hour, each word in its place.

During the two centuries of absolute monarchy, nothing took place that Versailles did not either originate or answer. Every shot that was fired in Flanders, Germany and Spain awakened here an echo. Richelieu was here, the first statesman of the monarchy, and Necker, the last.

French literary history is inscribed on its walls, which received within them the great writers of France from Moliere to Beaumarchais.

Art erected especially for Versailles the schools and systems whose influence has been felt through the succeeding centuries. For Versailles, Lebrun became a painter, Coysevox a sculptor, and Mansard an architect. But it was not France alone that depended on Versailles.

Foreign nations sent their representatives to this famous center; the choice spirits of Europe came to visit it.

The history of Versailles was for two centuries the history of civilization. From Versailles may be seen the movement of manners, wars, diplomacy, literature, arts and energies that agitated Europe.

On entering Versailles by the Paris avenue, we see the palace on the summit of the horizon. The houses, scattered here and there and concealed among the trees, appear less to form a town than to accompany the monument raised beyond and above them. Approaching the Place d'Armes, we distinguish the different parts of which the imposing ma.s.s of buildings is composed. In the center is a singular bit of architecture. In vain the neighboring ma.s.ses extend their circle around it: their great arms are unable to stifle it; but it possesses a seriousness of character that attracts the eye more strongly than their high white walls. This is the remains of the chateau built by Louis XIII at Versailles. Louis XIV did not wish to bury his father's dwelling.

THE STORY OF VERSAILLES

CHAPTER I

THE BEGINNINGS OF VERSAILLES

A dreary expanse of low-lying marsh-land, dismal, gloomy and full of quicksands, where the only objects that relieved the eye were the crumbling walls of old farm buildings, and a lonely windmill, standing on a roll of higher ground and stretching its gaunt arms toward the sky as if in mute appeal against its desolate surroundings--such was Versailles in 1624. This uninviting spot was situated eleven miles southwest of Paris, the capital city of France, the royal city, the seat, during a century before, of the splendid court of the brilliant Francis I and of the stout-hearted Henry II, the scene of the masterful rule of Catherine de Medici, of the career of the engaging and beautiful Marguerite de Valois and of the exploits of the gallant Henry of Navarre.

The desolate stretch of marshland, with its lonely windmill, meant nothing then to the court nor to the busy fortune-hunting and pleasure-seeking inhabitants of Paris. No one had reason to go to Versailles, except perhaps the poor farmers and the owner of the isolated mill--least of all the n.o.bility and fashionable folk of the glittering capital. No exercise of the imagination could then have conjured up the picture of the splendor in store for the barren waste of Versailles. The mention of the name in 1600 would have brought nothing more from the lips of royalty and n.o.bility than an indifferent inquiry: "And what, pray, is Versailles and where may it be?" You, my lord, who raise your eyebrows interrogatingly, and you, my lady, who flick your fan so carelessly, will some day behold your grandchildren paying humble and obsequious court to the reigning favorites at Versailles--yes, out there on this very moorland where you see nothing but marshy hollows and ruined walls, there will your lord and master, your glorious Sun King, the Grand Monarch, Louis the Fourteenth, build a palace home that Belshazzar might justly have envied: there will he hold high court and set the whole world agape at his prodigal outlay and magnificent festivities. And well may we inquire to-day: how came this dreary waste to be the wondrous Versailles, the seat and scene of so much in the making and the making-over of the world?

Ancient records of France indicate that in 1065 the priory of St.

Julien was established on the estates of the house of Versalis--a grant under royal protection. A poor farm community grew up about the ecclesiastical retreat. Here, also, on the estates of the barony of Versailles, was a repair of lepers, destroyed in the sixteenth century.

The origin of the name is said by some to be derived from the fact that the plains thereabouts were exposed to such high winds that the grain in the poor land was frequently overturned (_verses_). The lord of these acres first named in history is Hugues (Hugo) de Versalis, who lived early in the eleventh century and was a contemporary of the first kings of the Capet dynasty. A long line of n.o.bles of this family succeeded him. In 1561 Martial de Leomenie, Secretary of Finance under Charles IX, became master of Versailles. The farming village being on the route between Paris and Brittany, he obtained from the king permission to establish here four annual fairs and a weekly market on Thursdays. Martial perished in the Ma.s.sacre of St. Bartholomew in 1572. Henry IV, as a prince, when hunting the stag with Martial often swept across the low plains of Versailles. The rights to the lands of the barony were acquired by Marechal de Retz from the children of Martial de Leomenie, and inherited from the n.o.ble duke by his son, Jean-Francois de Gondi, first archbishop of France. It was this prelate that sold to Louis XIII in 1632, for 66,000 pounds (about $27,400), the land and barony of Versailles, consisting, in the phrase of the original deed, "of an old house in ruins and a farm with several buildings."

In 1624, Louis XIII, who had hunted in the vicinity of Versailles since childhood and in later life had sought relief there from ennui and melancholy, often slept in a low inn or in the hill-top windmill after long hunts in the forest of St. Leger. It occurred to him that it would be convenient for him to have a pavilion or hunting-lodge in this unattractive place, and accordingly he ordered one erected at Versailles, on the road that led to the forest of St. Leger. In 1627, concluding that in no other domain of its limited acreage could he find so great variety of land over which to hunt on foot and horse-back, he bought a small piece of property at Versailles. Immediately afterwards he caused to be erected what Saint-Simon called "a little house of cards" on the isolated hill that rolled up in the heart of the valley, where the windmill had stood.

Louis' architect was Philbert Le Roy, and the new villa was about two hundred feet from the lodge first constructed. Its form was a complete square, each corner being terminated by a tower. The building was of brick, ornamented with columns and gilded bal.u.s.trades; it was surrounded by a park adorned with statues sculptured after designs by the artist Poussin. Ambitious addition! A villa on the old mill site, decorated by the favorite court artist of the day, Nicolas Poussin!

The court resented the enterprise, the n.o.bility despised it. It was the King's fancy; nothing else excused it. A n.o.ble of the court, Ba.s.sompierre, exclaimed that "it was a wretched chateau in the construction of which no private gentleman could be vain."

Scarcely was his new chateau finished (1630) when the King took up his residence there for the hunt. In this place were terminated in November, 1630, the autocratic services of Cardinal Richelieu to the King--the first of many significant historical events to take place there.

The King's sojourns at Versailles during the hunting season, however, had their effect. Many of the royal intimates were influenced to build on land given to them by the sovereign. So before Louis XIII died his chateau was surrounded by many charming country houses. On April 8, 1632, Louis came into possession of the feudal dwelling of Jean-Francois de Gondi and its lands. Versailles then began to acquire distinction. It was the King's resort. Could any one afford to question its character, or location, or the standing of those that, at the King's behest, took up their residence there? Not we surely, who can now view Versailles in the light of history. All aside from its splendid court life and its magnificent festivities, we know it as the scene of three epoch-making events in the world's history. During and shortly after the American Revolution, Versailles was the scene of treaty negotiations in which France, England and America were the active parties. About a century later, in 1871, the treaty was consummated there that ended the Franco-Prussian War, by which France lost Alsace and Lorraine and was forced to pay to Germany $1,000,000,000. And now, in our day, the most superb irony of history has brought about a treaty in the same Hall of Mirrors by which Germany repays, and the map of Europe undergoes radical changes.

CHAPTER II

THE MAKING OF VERSAILLES

The Luxurious Chateau and Parkland of Louis XIV

At the death of Louis XIII, in 1643, the little chateau of Versailles was abandoned as a dwelling. Then followed a fall in values at Versailles and a great flutter of uncertainty among those that had followed the King there. This feeling of doubt lasted for seven years. The faces of the court favorites were turned back toward Paris, and individual fortunes were speculatively weighed in the balance with the possibilities of the new King's whims and fancies. But when the twelve-year-old Louis XIV came to hunt in the vicinity of Versailles for the first time, he found the suburban dwelling of his father attractive from the start. The Gazette noted this visit, in 1651, and described the supper that the royal boy shared with the officials of the chateau. Two months later the King supped again at Versailles, and was so delighted with the estate and the hunting to be had thereabouts that, thereafter, he made it a yearly custom to visit Versailles once or twice in the hunting season, sometimes with his brother, sometimes with his prime minister, Cardinal Mazarin.

Returning in 1652 from an interview at Corbeil with Charles II of England, then seeking refuge in France, Louis XIV dined at Versailles with his mother, Anne of Austria. In October, 1660, four months after his marriage to Maria Theresa of Spain, he brought his young queen there.

The future of Versailles was a.s.sured. The King had decided to set his star and make his palace home where his father had established a hunting lodge.

The year 1661 was one of the most important in the history of the monarch. On March fifteenth, eight days after the death of Mazarin, the great Colbert was named Superintendent of Finances. It was he who was to give to the reign of Louis XIV its definite direction; his name was to be lastingly a.s.sociated with the founding of the greater Versailles, and with the construction of the Louvre, the Tuileries, Fontainebleau and Saint-Germain. But Colbert's task in the enlargement of Versailles was no easy one, nor did he approve of it. He opposed the young King's purpose obstinately and expressed himself on the subject without reserve.

"Your majesty knows," he wrote to the King, "that, apart from brilliant actions in war, nothing marks better the grandeur and genius of princes than their buildings, and that posterity measures them by the standard of the superb edifices that they erect during their lives. Oh, what a pity that the greatest king, and the most virtuous, should be measured by the standard of Versailles! And there is always this misfortune to fear."

But the King, like many another great monarch, had dreamed a dream. He was not satisfied with Paris as a residence. So he told Colbert to make his dream of Versailles come true--and Colbert had to find some way to pay the cost.

An irritating cause of the King's purpose lay in the fact that he was incited by the splendors of the chateau of Vaux-le-Vicomte, built by his ill-fated minister, Fouquet. Louis determined to surpa.s.s that mansion by one so much more elaborate as to crush it into insignificance. Nicholas Fouquet had employed the most renowned masters of this period--among them Louis Le Vau, the architect, Andre Le Notre, the landscape gardener, and Charles Lebrun, the decorator. These were the men the King summoned to transform the modest hunting villa of his father. At the truly gorgeous chateau of his minister, he had witnessed the full measure of their genius. On August 17, 1661, Fouquet gave an elaborate fete to celebrate the completion of the chateau, which the King attended. Within three weeks the host was a prisoner of State, accused of peculation in office.

Acting immediately upon his resolution to out-do the glories of Vaux-le-Vicomte, Louis engaged Le Notre to plan gardens and Le Vau to submit proposals for the enlargement and decoration of the chateau. One of the first apartments completed was the chamber of the infant Dauphin--heir to the throne, who was born in November, 1661. Colbert reported in September, 1663, that in two years he had spent 1,500,000 pounds, and a good part of this sum was for the construction of the gardens. Builders and decorators suggested one elaborate project after another, without regard to the cost, despite the protest of Colbert to the King that they were exceeding all estimates and provisions. It was a paradise period for profiteers.

Versailles became a favorite retreat of the extravagant young sovereign.

He frequently drove out from Paris, and on sundry occasions gave splendid b.a.l.l.s and dinners.

For periods of increasing frequency the King was in residence at Versailles. He urged on the builders who had in hand the construction of the living-rooms, kitchens, stables; he supervised the placing of pictures and other decorative works in various parts of the expanded chateau; impatiently he chided the superintendents for delay and feverishly they strove to meet his demands for greater haste. And though every hour of haste cost the King of France a substantial sum, he cared for nothing but the fulfillment of his luxurious plans. Hundreds of laborers were engaged in laying out the orangery, the grand terrace, the fruit and vegetable gardens. The original entrance court was greatly enlarged. Long wings terminated by pavilions bordered it. On the right were the kitchens, with quarters for the domestics; on the left, the stables, where there were stalls for fifty-four horses. At the main entrance to the court were pavilions used by the musketeers as guard-houses. Those were bustling times at Versailles, and every day disclosed a new development and opened the way to new miracles of construction.

And the miracles were wrought, one after another--all by order of the King. On the site of the park a great terrace was bordered by a parterre in the shape of a half-moon, where a waterfall was later installed. A long promenade, now called the Allee Royale, extended to a vast basin named the Lake of Apollo. Streamlets were diverted to feed fountains.

Twelve hundred and fifty orange trees were transported from the fallen estate of Vaux to fill the long arcades of the orangery.

In the midst of the activities of masons, carpenters, gardeners, the King was dominant, directing minute details--the laying of floors, the hanging of draperies, the installation of art works in the chapel. The restive master of the estate was impatient to enjoy his creation, and to invite his Court there to celebrate its completion with fetes both brilliant and costly. Colbert wrote in a letter dated September, 1663, of the beauty of the chateau's adornments--its Chinese filigree of gold and silver.

"Never," he swore, "had China itself seen so many examples of this work together--nor had all Italy seen so many flowers." Colbert suffered, but the King found royal satisfaction. The splendid scene of the Sun King must be set--the people had to pay. It was Colbert's affair to finance it.

The King commanded a series of fetes to be arranged. For eight days every diversion appropriate to the autumn season was enjoyed by the royal family and all the Court. Every day there were b.a.l.l.s, ballets, comedies, concerts, promenades, hunts. Moliere and his troupe were commanded to appear in a new piece called "_Impromptu de Versailles_."

Colbert regretted the absorption of his sovereign in Versailles, "to the neglect of the Louvre--a.s.suredly the most superb palace in the world."

Louis tolerantly gave ear and inspected the Louvre, but to the building of Versailles he devoted all his enthusiasm.

The appearance of the villa erected by Louis XIII had been vastly altered as to its roofs, chimneys, facades. In 1665 the court was ornamented by the placing of the pedestals and busts that still surround it. In addition to the main edifice, the King gave orders for the building of small dwellings to be occupied by favorites of his entourage, and by musicians, actors and cooks. Three broad tree-lined avenues were laid out and the highway to Paris--the Cours-la-Reine--commenced. Already Versailles took on a more imposing aspect than ancient Fontainebleau.

Workmen were constantly busy with the building of reservoirs, the laying of sod, the planting of labyrinths, hedges, secret paths and bosky retreats, with the setting out of hundreds of trees brought from Normandy, and the seeding of flower gardens of surpa.s.sing beauty. Ponds, fountains, grottoes, waterfalls and straying brooks came into being at the command of the ambitious young ruler. At some distance from the chateau courts and cages were constructed to shelter rare birds and animals. It was designed that this should be "the most splendid palace of animals in the world." The King decided the details of building and decoration and supervised the installation of the furred and feathered tenants of the palatial menagerie. This was the enclosure so greatly admired by La Fontaine, Racine and Boileau, during a visit to Versailles in 1668.

The first epoch of the construction of Louis XIV coincided with the first sculptural decoration of Versailles. A great number of works of art were ordered for the adornment of the walks and gardens. Many statues and busts of mythological subjects that were made at Rome to the order of Fouquet, after models by Nicolas Poussin, were removed from Vaux to Versailles. That was a thriving period for sculptors of France and adjacent countries. Records faithfully kept by Colbert detail expenditures of thousands of pounds of the nation's money for bronze vases, stone figures of nymphs and dryads and dancing fauns that were placed among the trees and fountains of Versailles. Much of the ornamental sculpture ordered at this time disappeared from the royal domain, as Louis XIV constantly demanded the work of the newest artists and all the novelties of the moment.

By the year 1668 Versailles apparently approached completion. It had then been seven years in building. But in 1669 the general character of the chateau was again changed. In the embellishments proposed by Le Vau, the architect, the royal domain became the scene of renewed activity, engendered by the King, then just turned thirty years of age, and eager to achieve still greater improvements at Versailles to mark the increasing prosperity of his reign. Half-finished buildings were demolished and begun anew. Immense structures arose, and once again artists flocked to Versailles. Inside the palace and in the park they wrought an elaborate scheme of decoration that made this the most sumptuous dwelling of the monarchy. In the words of Madame Scudery, an annalist of that epoch, Versailles, under the new orders of the King, became "incomparably more beautiful." Another Versailles was born; at the same time there was created a town on the vast acres purchased by the King, in the midst of which three great avenues were built, converging toward the chateau. In addition to the enlargement and improvement of the palace, the King ordered the erection of houses for the use of Colbert, now superintendent of the royal buildings, and for the officers of the Chancellery. From this time he interested himself particularly in the advancement of the infant town; he bought the village of "Old Versailles" and made liberal grants of land to individuals who agreed to build houses there. Opposite the chateau arose the mansions of ill.u.s.trious n.o.bles of the Court.

As the King remained obstinate in his determination that the "little chateau" of his father should not be removed to make room for a structure more in harmony with the surrounding ostentation, Le Vau covered over the moats and built around the lodge of Louis XIII with imposing effect. The new buildings containing the state apartments of the King and Queen and public salons were separated by great courts from the insignificant beginning of all this mounting splendor. Le Vau did not live to see the completion of the palace. He died in 1670. The work of reconstruction, in which the King maintained a lively interest whether at home or abroad, was continued by the architect's pupils at a cost of thousands of pounds.

Eagerly Louis read plans and listened to reports. With still greater interest he attended the proposals of the great Mansard--nephew of the designer and builder who in 1650 revived the use of the "Mansard roof."

When he succeeded as "first architect," Jules Mansard (or Mansart) first undertook the erection of quarters for the Bourbon princes. In the same year (1679) that he began the immense south wing for their use, he gave instructions for the building of the now historic Hall of Mirrors between two pavilions named--most appropriately in the light of after events--the Salon of Peace and the Salon of War. From the high arched windows of this glittering Grand Gallery great personages of past and present epochs have surveyed the gardens, fountains and broad walks that are the crowning glory of Versailles.

In the time of the Grand Monarque more than a thousand jets of water cast their silver spray against the greenery of hedge and grove. "Nothing is more surprising," said a chronicler of Louis the Fourteenth's reign, "than the immense quant.i.ty of water thrown up by the fountains when they all play together at the promenades of the King. These jets are capable of using up a river." A writer of our day bids us pause for a moment at the viewpoint in the gardens most admired by the King--at the end of the Allee of Latona. "To the east, beyond the brilliant parterre of Latona, with its fountains, its flowers, and its orange-trees, rise the vine-covered walls of the terraces, with their s.p.a.cious flights of steps and their vividly green clipped yews. Turn to the west and survey the Royal Allee, the Basin of Apollo, and the Grand Ca.n.a.l, or look to the north to the Allee of Ceres, or to the south to that of Bacchus, and you realize the harmony that existed between Mansard and Le Notre in the decoration of the chateau and in the plan of the gardens." Beyond the palace and the surrounding gardens lay the park in which the Grand Trianon was built, of marble, near the bank of the Grand Ca.n.a.l. Madame de Maintenon, who became the King's second wife, was housed within these sumptuous walls, which were completed in 1688.