"n.o.body ever saw him otherwise." When he had reported his arrival to the King, Lafayette stationed guards about the palace, and, worn with hours of marching in the rain and mud, so far forgot his duty to his Sovereign and his command that he retired to his house in the town of Versailles to seek sleep. In the ma.s.ses of people outside the gates were thieves and men of violence. "What a delightful prospect was opened for pillage in the wonderful palace of Versailles, where the riches of France had been ama.s.sed for more than a century!" exclaims the commentator, Michelet.

Here follows a dramatic account of what followed, based on the story of Madame de Stael, who witnessed many of the b.l.o.o.d.y scenes in person. "At five in the morning, before daylight, a large crowd was already prowling about the gates, armed with pikes, spits, and scythes. About six o'clock, this crowd, composed of Parisians and people of Versailles, scale or force the gates, and advance into the courts with fear and hesitation. The first who was killed, if we believe the Royalists, died from a fall, having slipped in the Marble Court. According to another and a more likely version, he was shot dead by the body-guard.

"Some took to the left, toward the Queen's apartment, others to the right, toward the chapel stairs, nearer the King's apartment. On the left, a Parisian running unarmed, among the foremost, met one of the body guard, who stabbed him with a knife. The guardsman was killed. On the right, the foremost was a militia-man of the guard of Versailles, a diminutive locksmith, with sunken eyes, almost bald, and his hands chapped by the heat of the forge. This man and another, without answering the guard, who had come down a few steps and was speaking to him on the stairs, strove to pull him down by his belt, and hand him over to the crowd rushing behind. The guards pulled him towards them; but two of them were killed. They all fled along the Grand Gallery, as far as the _Oeil-de-boeuf_ (Bull's Eye), between the apartments of the King and the Queen. Other guards were already there.

"The most furious attack had been made in the direction of the Queen's apartment. The sister of her _femme de chambre_, Madame de Campan, having half opened the door, saw a guardsman covered with blood, trying to stop the furious rabble. She quickly bolted that door and the next, put a petticoat on the Queen, and tried to lead her to the King. An awful moment! The door was bolted on the other side! They knock again and again. The King was not within; he had gone round by another pa.s.sage to reach the Queen. At that moment a pistol was fired, and then a gun close to them. 'My friends, my dear friends,' cried the Queen, bursting into tears, 'save me and my children!' At length the door was opened, and she rushed into the King's apartment.

"The crowd was knocking louder and louder to enter the _Oeil-de-boeuf_.

The guards barricaded the place, piling up benches, stools, and other pieces of furniture; the lower panel was burst in. They expected nothing but death; but suddenly the uproar ceased, and a kind clear voice exclaimed: 'Open!' As they did not obey, the same voice repeated: 'Come, open to us, body-guard; we have not forgotten that you men saved us French Guards at Fontenoy.'

"It was indeed the French Guards, now become National Guards, with the brave and generous Hoche, then a simple sergeant-major--it was the people, who had come to save the n.o.bility. They opened, threw themselves into one another's arms, and wept.

"At that moment, the King, believing the pa.s.sage forced, and mistaking his saviors for his a.s.sa.s.sins, opened his door himself, by an impulse of courageous humanity, saying to those without: 'Do not hurt my guards.'

"The danger was past, and the crowd dispersed; the thieves alone were unwilling to be inactive. Wholly engaged in their own business, they were pillaging and moving away the furniture. The grenadiers turned that rabble out of the castle.

"Lafayette, awakened but too late, then arrived on horseback. He saw one of the body-guards whom they had taken and dragged near the body of one of those killed by the guards, in order to kill him by way of retaliation. 'I have given my word to the King,' cried Lafayette, 'to save his men. Cause my word to be respected.'

"He then entered the castle. Madame Adelade, the King's aunt, went up to him and embraced him: 'It is you,' cried she, 'who have saved us.' He ran to the King's cabinet. Who would believe that etiquette still subsisted? A grand officer stopped him for a moment, and then allowed him to pa.s.s: 'Sir,' said he seriously, 'the King grants you _les grandes entrees_.'

"The King showed himself at the balcony, and was welcomed with the unanimous shout of 'G.o.d save the King.' 'Vive le Roi!'

"At that moment several voices raised a formidable shout: 'The Queen!'

The people wanted to see her in the balcony. She hesitated: 'What!' said she, 'all alone?' 'Madame, be not afraid,' said Lafayette. She went, but not alone, holding an admirable safeguard--in one hand her daughter, in the other her son. The Court of Marble was terrible, in awful commotion, like the sea in its fury; the National Guards, lining every side, could not answer for the center; there were fire-arms, and men blind with rage. Lafayette's conduct was admirable; for that trembling woman, he risked his popularity, his destiny, his very life; he appeared with her on the balcony, and kissed her hand.

"The crowd felt all that; the emotion was unanimous. They saw there the woman and the mother, nothing more. 'Oh! how beautiful she is! What! is that the Queen? How she fondles her children!'"

The King, overcome by dread, was forced to agree to the demand of the people that he go to Paris. In leaving his palace, he realized that he was finally surrendering all his claims to royalty. About noon on the sixth day of October, Louis XVI and Marie Antoinette, under the protection of the Marquis de Lafayette, turned their faces forever from Versailles. Little they knew that they were even then traveling the long road to the guillotine. A rabble of men and women surrounded them, some on foot, some in carts and carriages. "All were very merry and amiable in their own fashion, except a few jokes addressed to the Queen."

Such was the end of royal Versailles. Who can contest its tragic grandeur? In these halls, these gardens, these secluded villas the supreme destiny of the Bourbon monarchy was achieved. They witnessed the apogee, the decline, and the ruin of the dynasty.

CHAPTER X

THE SHRINE OF ROYAL MEMORIES, THE SCENE OF WORLD ADJUSTMENTS

It was not long after the enforced departure of Louis XVI and the Court that the immense sepulcher of regal glory was dismantled and forsaken.

During the Revolution some of the furnishings were taken to Paris to supply the needs of the king and his family at the Tuileries. A number of pictures and objects of art contained in the palace and the two Trianons were removed to the Museum of the Louvre, which had been founded in 1775. Some of these paintings, including the _Joconde_ by da Vinci, and famous canvases by t.i.tian, del Sarto, Rubens and Van Dyck, still hang on the walls of the first national gallery of France.

Agitated discussions arose as to the final destiny of the palace and its contents. A group of law-makers would have sold the building outright. But in July, 1793, the Convention decreed the establishment at Versailles of a provincial school, a museum of art objects taken from the houses of those that had emigrated from troublous France, a public library, a French museum for painting and sculpture, and a natural history exhibition. There were, however, Revolutionaries that so despised the relics of royalty that they continued to urge from time to time the complete demolition of the palace and park--chief works of Louis XIV's reign. The most diligent defenders of the chateau were the inhabitants of the town of Versailles, who were keenly aware that the continued existence of the palace would insure a measure of prosperity to the community. They protested, that, just object of the people's venom as the edifice was, it nevertheless stood as a monument to the arts and crafts of France during two centuries. The a.s.sailants that made hideous the days of October fifth and sixth, 1789, had done comparatively little material damage within the palace precincts. Gun shots of the Paris mob had disfigured two statues at the main entry to the courtyard, had destroyed the grill that separated the Royal Court from the Court of the Ministers; lunges of their bayonets had broken the mirrors in the Grand Gallery, while pursuing the Guards to ma.s.sacre them. Otherwise, the historic walls and gardens bore no evidence of Revolutionary fury.

After several years of contention, plan and counter-plan, the Convention definitely saved Versailles for the nation by the decrees of 1794 and 1795. During this epoch of violence and revolt, thousands of articles were offered for sale at the stables of Versailles, in the presence of appointed representatives of the people. Linen, utensils, mirrors, clocks, cabinets, chandeliers, stoves, damask curtains, carriages, wines of Madeira, Malaga and Corinth, coffee, Sevres porcelains, engravings, paintings, drawings, and some fine furniture went for a song at this colossal auction. In 1796 the Minister of finance ordered that remaining pieces of furniture of great beauty and value be put on sale. In this way were summarily dispersed chairs of tapestry and gilt that would to-day command extravagant sums; desks of exquisite marquetry, at which kingly doc.u.ments and _billets doux_ had been penned; dressing-tables whose mirrors had reflected the faces, sad or gay, frank or subtle, of queens and mistresses; wardrobes that had held the linens and brocades of princes and courtiers; clocks of gold and enamel that had registered the hours of portentous births and marriages. Tables of mosaic and satinwood, cushions of gold brocade, cameo medallions, porcelain panels, plaques of lacquer and bronze were included on the list of articles to be disposed of. In the original inventory, discovered in the library at Versailles, were included pieces of Saxony ware, Watteau figures, Sevres vases, dishes and cups, Beauvais tapestries, clocks made by Robin and de Sotian, candelabra of crystal, chandeliers of silver--all from the apartments of the King, the Queen and the Dauphin. For 20,000 francs there was sold a tapestry emblematic of the American Revolution. Creditors of the new Government were paid in furniture and art works whose value they estimated to please their own purses. A brochure published at Paris by Charles Davillier recites the romance of "The Sale of the Furnishings of Versailles during the Terror." To a certain Monsieur Lanchere, a former cab driver who had undertaken the conduct of military convoys and transports for the State, were a.s.signed clocks, carpets, statuary, chests, secretaries and consoles that embarra.s.sed every nook and corner of the s.p.a.cious Paris mansion of which he became proprietor.

"Paris," narrates Monsieur Davillier, "was gorged after the sale at the chateau of Versailles with priceless furniture and objects of _vertu_."

Newspapers were filled with the advertis.e.m.e.nts of second-hand dealers offering to the public these souvenirs--redolent, splendid, tragic--of a dead-and-gone dynasty, of an epoch vanished never to return.

The inst.i.tutions whose establishment at Versailles definitely saved the chateau and its dependencies for posterity, were, at the Palace, a conservatory of arts and sciences and a library of 30,000 volumes; in the Kitchen Garden a school of gardening and husbandry; at the Grand Commune, a manufactory of arms; at the Menagerie, a school of agriculture. Halls that had echoed to the dance and the clink of gold at gaming-tables now heard profound lectures on history, ancient languages, mathematics, chemistry, and political economy! Cla.s.sic exercises beneath the painted ceilings of these memoried rooms!

Scholastic discourse where music and laughter had vibrated for a hundred extravagant years!

The galleries at the Louvre contributed to the new Versailles museum all the canvases of French artists that it possessed. Fragonard and Greuze, Lebrun, Claude Lorrain, Mignard, Poussin, Rigaud, Vanloo, Vernet--all were represented, some of them by numerous examples of their graceful art. Besides, there was a Rubens Gallery, and two salons filled with the works of Paul Veronese. Some of these treasures were later removed to the Luxembourg Palace, where the French Senate was sitting, and to the palace of Saint-Cloud, residence of Napoleon Bonaparte, First Consul. Little by little the canvases were dispersed, until, at the end of the Empire, the Versailles Museum of French Art ceased to be.

At the beginning of the year 1800, Napoleon Bonaparte established at Versailles a branch of the _Hotel des Invalides_ in Paris, and wounded veterans of the Revolution to the number of 2,000 were installed for two years in the vast apartments of Louis XV and in rooms overlooking the garden and the Court of Ministers. During this period several of the salons were opened to the people for exhibitions and a.s.semblies, and the public were free to enjoy the park, the Orangery and the fragrant bosques of Trianon. Fetes of the Republic frequently took place about a national altar raised near the Lake of the Swiss Guards, and a Tree of Liberty was planted with great solemnity in the court of the chateau, where the equestrian statue of Louis XIV now stands. In illuminating contrast to the regal celebrations it succeeded was this latter ceremony, which was inaugurated by a meeting in the historic Tennis Court, where loyal republicans took a new oath of hatred for all things royal, and swore devotion to the const.i.tution. Into the dwelling of former sovereigns the people then crowded to witness the ceremony of breaking a scepter and crown into a thousand pieces. Next, they gathered around the Liberty Oak to consecrate it; they hung it with ribbons of the tricolor of France, a band played "a republican air," and an orator delivered a speech in commemoration of the glorious anniversary of the day on which "the last tyrant of the French" had been guillotined. Fortunately for the peace of mind of the Sixteenth Louis, he had no gift of prevision!

With the beginning of Napoleon's reign, Versailles and the Trianon became once more part of the Crown lands. The Emperor ordered necessary repairs to be made. In the theater the royal troupe of comedians was sometimes heard. The ca.n.a.l, which had nearly dried up during the neglectful rule of the Republic, was again filled with water. The park and the facades of the palace were restored, and in the Gallery and State Apartments artists renewed the colors of the mural decorations. Many of the repairs and changes made by Dufour, Napoleon's architect, have remained to the present time. Certain parts of the palace giving on the courts were in ruins, Louis XV and his heir having had no money to spare for their restoration. In 1811, after the Peace of Vienna, Napoleon, then in residence at the Grand Trianon, took under advis.e.m.e.nt the complete reconstruction of the palace. In consternation he surveyed the tumbling walls and the general confusion that confronted him during one of his promenades in the park and Orangery. "Why," cried he, "did the Revolution, which destroyed everything else, spare the chateau of Versailles! Then I would not have had on my hands this embarra.s.sing legacy from Louis XIV--an old chateau poorly built--one much favored without just cause."

Architects busied themselves with innumerable plans for re-making the shabby pile. Some would have torn down the Council Hall, the bed-chamber of Louis XIV, the antechamber of the Bull's Eye, and all the rest of the palace except the apartments of the King and Queen, the Gallery with the salons at either end, the Chapel and the Opera House.

Napoleon was willing to spend 6,000 francs on the construction of suites for himself and his family "and fifty others." "Then," said he, "we could perhaps come to Versailles to pa.s.s a summer." The disasters of the year 1812 and the fall of the Empire saved the palace from the threatened renovation.

When Louis XVIII ascended the throne of his Bourbon ancestors after the extinction of Napoleon's Star of Hope, he conceived a new plan "to put the chateau of Versailles in a habitable state." During the next six years (1814-1820) the King restored the Hall of Mirrors and all that was especially a.s.sociated with Louis XIV. He finished the facade on the Paris side, begun by Gabriel under Louis XV, and built a pavilion corresponding to the one designed and erected by this same architect.

He did away with a maze of small apartments, cleaned and simplified the interior, restored painted ceilings and gilt embellishments, and with great care put in order the entire palace and its surroundings. The chapel was repaired and blessed anew by the Bishop of Stra.s.sbourg.

Many State visitors came to see Versailles, even in the days when it was shorn of its glory. Pope Pius VII was there in 1805. From the balcony outside the Gallery of Mirrors he bestowed his benediction upon a crowd that stood below on the terraces. Two days later the Salon of Hercules was the scene of a ball in celebration of the coronation of the first Emperor of France. In May, 1814, Czar Alexander I of Russia visited Versailles with his two brothers, following the example of Peter the Great, who had been there when Louis XV was on the throne.

Another historic cortege was composed of Frederick William III of Prussia and his two sons, one of whom, Prince William, was to return to Versailles in the year 1870 on a mission less peaceful. The gates of Versailles opened to the Duke of Wellington in 1818.

Other visitors there were that came to Versailles and, by the good will of Louis XVIII, lodged there--homeless dependents, who dried their laundry at the stately windows of the palace and installed goats and cows on the roofs overlooking the inert bronze fountains.

After the reign of Charles X all the occupants at the chateau left, following the Revolution of July, 1830. Once more the question arose as to the disposition of the palace. Empty, abandoned, "What shall we do with it?" cried the ministers. The answer was found in the project proposed to Louis Philippe that Versailles should become a national depository for souvenirs of French history, surrounded by the splendors of Louis the Great. This suggestion had the king's approval and cooperation. A confusion of offices, rooms, staircases and pa.s.sages was simplified in the two wings, and the main body of the chateau and long galleries were created for the reception of thousands of battle pictures, portraits and pieces of sculpture, reflecting events and personalities concerned with the story of France.

The Queen's bed-chamber, the apartments of Madame de Maintenon and of the daughters of Louis XV and Madame de Pompadour were among those that were altered. In the entrance court of the chateau were placed a group of statues from the Paris bridge _de la Concorde_, all of them so ma.s.sive that they were out of proportion to the low surrounding walls.

On the face of the north and south wings Louis Philippe caused to be engraved the dedication of the huge pile and its contents "To all the Glories of France." The sum expended under the direction of the architect, Nepveu, for the creation of the National Museum of Versailles, exceeded 20,000,000 francs (about $4,000,000). The inauguration of the museum in June, 1837, was attended by Louis Philippe and his Queen, by officers of the Army and Government and representatives of French Law, Commerce, Art and Education. Arriving from Trianon, where they had been in residence, the King and his wife entered the palace by the Marble Stairway, traversed the Grand Hall of the Guards (to-day called the Hall of Napoleon) and the halls leading to the Grand Gallery of Battles, where they saw portrayed on canvas all the important military engagements of French armies, from Tolbiac to Wagram. In the Chamber of Louis XIV the King and Queen examined the restorations of the furniture, and found them well done. A royal banquet was laid in the Grand Gallery and in adjacent salons. At eight o'clock His Majesty, the royal family and 1500 guests a.s.sembled in the brilliantly illuminated Opera House, where they witnessed a performance of Moliere's _Misanthrope_ and extracts from the opera, _Robert le Diable_, by Meyerbeer. The spectacle was concluded by a piece written by Eugene Scribe, the famous French librettist, in celebration of the founding of the Museum. At midnight the King and his family led a procession through the galleries of the palace, lighted by footmen carrying torches. At two o'clock in the morning the festivities were at an end and the royal party left for Trianon.

Says a French author, writing two years after the opening of the museum. "When Louis Philippe first cast his eye upon Versailles, he saw at once the impiety of allowing such a monument to sink into utter ruin... . He determined that the palace of Louis XIV, without losing its individuality, should become a palace of the entire people; and that the bygone spirit of absolutism should give shelter to the spirit of modern liberty. Versailles, therefore, erected as a homage to individual pride, has become, under the Orleans regime, a great national monument--and certainly the most complete and splendid of its cla.s.s in all Europe. The temple of luxury was converted into a temple of the arts, and French valor was recorded in immortal colors upon the walls, by French genius."

In the vast edifice Louis Philippe created a pictorial record that embraced not only the great battles from the beginning of the monarchy down to his own day, but the chief incidents that distinguished the reigns of Louis XIV, XV and XVI; the victories of the Republic; the campaigns of Napoleon; the reigns of Louis XVIII and Charles X; the Revolution of 1830, and the reign of Louis Philippe. The kings of France, the members of their families and immediate entourage, great French warriors, statesmen, artists, men of letters and science are depicted on canvases that line the immense halls of Versailles. The Gallery of Warriors was arranged by Louis Philippe in that part of the palace formerly occupied by Madame de Montespan. The Gallery of Napoleon, created by removing the part.i.tion from a dozen rooms belonging to various members of the royal family, presents a complete history of the Emperor's life. More than a hundred apartments, large and small, were obliterated to make room for the galleries of portraits--a most engrossing exhibition to students of French history.

Carlyle said, "I have found that the Portrait was a small lighted candle by which the Biographies could for the first time be read, and some human interpretation be made of them."

Unfortunately a considerable number of paintings hung in the new museum suffered in quality through the desire of Louis Philippe to bring his achievement to immediate completion. He gave commissions right and left, always with the stipulation that the artists _make haste_. But many canvases of high merit, artistically and historically, still grace the walls of these galleries.

Portraits of the four unmarried daughters of Louis XV have been appropriately arranged by the present curator of Versailles, Monsieur de Nolhac, in the apartments on the ground floor where Mesdames pa.s.sed most of their dull, insignificant lives. Nattier made flattering representations of all of them, sometimes in the costume of mythological characters. Both Nattier and the great La Tour portrayed Marie Leczinska, the mother of Louis XV's ten children. Nattier's likeness shows a smiling, matronly lady with sweet-tempered brown eyes, seated in a chair, the face softened by a frill and a black lace scarf.

Many of the portraits at Versailles painted by Charles Lebrun, Madame Vigee Lebrun, Jean-Baptiste and Michel Vanloo, Boucher, Largilliere, Pierre Mignard, Rigaud, are familiar to us through frequent reproduction.

In the years following the inauguration of the National Museum, Versailles was once again the scene of ostentatious fetes in the halls, gardens and splendid Opera House. When Louis Napoleon succeeded Louis Philippe as head of the French nation, he came to Versailles with his bride of three days, the beautiful Eugenie, to see the portraits of Marie Antoinette, for whom the young Empress cherished a special admiration.

On an August night in 1855, "the grand court of the chateau shone with a brilliance resembling day. The profile of the great edifice was outlined in small lights. In the gardens, arches and columns were raised and the fountains showered rainbow torrents. The Hall of Mirrors presented a spectacle whose splendor recalled nights when Louis XIV strolled here in brocade and ruffles. Garlands hung from the ceiling, thousands of lights reproduced themselves in the lofty mirrors and shed scintillating floods upon the handsome costumes of the invited ones." Thus the _Moniteur Universel_ described to its readers the reception offered by the Emperor of France to Queen Victoria, the Prince Consort and the future King of England. A few years later Emperor Napoleon III commanded another fete amid the grandeurs of Versailles, this time in honor of the King of Spain.

But the days and nights of royal spectacles at last came to an end--and for all time. In the month of September, 1870, the chateau offered refuge to German soldiers wounded in the short but bitter war with France. In the _Oeil-de-Boeuf_, the Council Hall, the little apartments of Louis XV and those of Marie Antoinete were placed four hundred invalid cots. By October, Bismarck arrived in the town of Versailles. During the next five months he resided on the Rue de Provence, in the villa of Madame Jesse, widow of a prosperous cloth manufacturer. His quarters were the center of diplomatic action during the period that preceded the signing of the shameful peace terms.

January 18, 1871, the anniversary of the day on which the first king of Prussia had crowned himself at Konigsberg (1701), was fixed for the proclamation of William II as German Emperor, in the Hall of Mirrors.

In the phrase of a chronicler of that time, "It was impossible for the boldest imagination to picture a more thorough revenge on the traditional foes of Germany than the proclamation of the German Empire in the storied palace of the Kings of France. With the shades of Richelieu and the Grand Monarch looking down upon them did the Teutonic chieftains raise as it were, their leader on their shields, and with clash of arms and martial music acclaim him kaiser of a re-united Germany." King William pa.s.sed from the altar in the middle of the Gallery to a platform at the end of the hall and there took his place before the colors, surrounded "by a brilliant mult.i.tude of princes, generals, officers and troops." When he had announced the re-establishment of the Empire, and when Bismarck, "looking pale, but calm and self-possessed," had read to the a.s.semblage the Proclamation to the German people, "the bands burst forth with the national anthem, colors and helmets were wildly waved, and the Hall of Mirrors shook with a tremendous shout that was taken up and swelled till the rippling thunder-roll of cheers struck the ears of the startled watchers on the walls of Paris," where roar of cannon night and day summoned the French to surrender. Thus the German Empire was born at the very seat of French Monarchy.

The armistice terms were signed at Versailles on the twenty-eighth day of January. One month later the representative of stricken France and Bismarck, sitting in the Chancellor's headquarters, affixed their signatures to the Peace Preliminaries, by which France surrendered Alsace (except Belfort) and Lorraine, and agreed to pay within three years a war indemnity of five thousand million francs.[*]

After the departure of the Prussians from Versailles (March 12, 1871), the Deputies of France arrived from Bordeaux, the temporary capital, and lodged in the Hall of Mirrors, which then became a dormitory, as it had on occasion been a hospital ward, a ball-room and the banqueting hall of royalty.

The insurrection of the Commune of Paris compelled the ministers to seek a place of security at Versailles. Once more the palace was chosen as the seat of Government. The ground floor, the upper floor and the attic, the picture galleries, even the vestibule of the Queen's Stairway and the servants' quarters served as offices for ministers and secretaries. The Department of Justice was installed in the Guards'

Hall, the _Oeil-de-Boeuf_ and the rooms of Marie Antoinette. The Secretary of Public Works directed his affairs within walls that had sheltered the nefarious Dubarry. The official _Journal_ was printed in the palace kitchens. For several years the Opera House, the north wing, and the intimate apartments of Louis XV were given over to the National a.s.sembly.

A Republican fete offered in 1878 by the president, Marshal MacMahon, was attended by twelve thousand guests. Once more the fountains of the north parterre were illuminated, but this time with electric bulbs instead of oil lanterns. There were ingenious fireworks on the _Tapis-Vert_ that would have astounded even the courtiers of the Grand Monarch. In the _Galerie des Glaces_, Dussieux tells us, there was a ball "not exclusively aristocratic, but nevertheless very gay and animated."