Catherine De Medici, Honoré de Balzac [best short novels of all time TXT] 📗

magnificent staircase which, no doubt, inspired the famous double staircase of Chambord. It led, from floor to floor, to all the apartments of the castle.

Though La Fontaine preferred the chateau of Francois I. to that of Louis XII., perhaps the naivete of that of the good king will give true artists more pleasure, while at the same time they admire the magnificent structure of the knightly king. The elegance of the two staircases which are placed at each end of the chateau of Louis XII., the delicate carving and sculpture, so original in design, which abound everywhere, the remains of which, though time has done its worst, still charm the antiquary, all, even to the semi-cloistral distribution of the apartments, reveals a great simplicity of manners. Evidently, the _court_ did not yet exist; it had not developed, as it did under Francois I. and Catherine de' Medici, to the great detriment of feudal customs. As we admire the galleries, or most of them, the capitals of the columns, and certain figurines of exquisite delicacy, it is impossible not to imagine that Michel Columb, that great sculptor, the Michel-Angelo of Brittany, passed that way for the pleasure of Queen Anne, whom he afterwards immortalized on the tomb of her father, the last duke of Brittany.

Whatever La Fontaine may choose to say about the "little galleries" and the "little ornamentations," nothing can be more grandiose than the dwelling of the splendid Francois. Thanks to I know not what indifference, to forgetfulness perhaps, the apartments occupied by Catherine de' Medici and her son Francois II. present to us to-day the leading features of that time. The historian can there restore the tragic scenes of the drama of the Reformation,--a drama in which the dual struggle of the Guises and of the Bourbons against the Valois was a series of most complicated acts, the plot of which was here unravelled.

The chateau of Francois I. completely crushes the artless habitation of Louis XII. by its imposing masses. On the side of the gardens, that is, toward the modern place des Jesuites, the castle presents an elevation nearly double that which it shows on the side of the courtyard. The ground-floor on this side forms the second floor on the side of the gardens, where are placed the celebrated galleries. Thus the first floor above the ground-floor toward the courtyard (where Queen Catherine was lodged) is the third floor on the garden side, and the king's apartments were four storeys above the garden, which at the time of which we write was separated from the base of the castle by a deep moat. The chateau, already colossal as viewed from the courtyard, appears gigantic when seen from below, as La Fontaine saw it. He mentions particularly that he did not enter either the courtyard or the apartments, and it is to be remarked that from the place des Jesuites all the details seem small. The balconies on which the courtiers promenaded; the galleries, marvellously executed; the sculptured windows, whose embrasures are so deep as to form boudoirs--for which indeed they served--resemble at that great height the fantastic decorations which scene-painters give to a fairy palace at the opera.

But in the courtyard, although the three storeys above the ground-floor rise as high as the clock-tower of the Tuileries, the infinite delicacy of the architecture reveals itself to the rapture of our astonished eyes. This wing of the great building, in which the two queens, Catherine de' Medici and Mary Stuart, held their sumptuous court, is divided in the centre by a hexagon tower, in the empty well of which winds up a spiral staircase,--a Moorish caprice, designed by giants, made by dwarfs, which gives to this wonderful facade the effect of a dream. The baluster of this staircase forms a spiral connecting itself by a square landing to five of the six sides of the tower, requiring at each landing transversal corbels which are decorated with arabesque carvings without and within. This bewildering creation of ingenious and delicate details, of marvels which give speech to stones, can be compared only to the deeply worked and crowded carving of the Chinese ivories. Stone is made to look like lace-work. The flowers, the figures of men and animals clinging to the structure of the stairway, are multiplied, step by step, until they crown the tower with a key-stone on which the chisels of the art of the sixteenth century have contended against the naive cutters of images who fifty years earlier had carved the key-stones of Louis XII.'s two stairways.

However dazzled we may be by these recurring forms of indefatigable labor, we cannot fail to see that money was lacking to Francois I. for Blois, as it was to Louis XIV. for Versailles. More than one figurine lifts its delicate head from a block of rough stone behind it; more than one fantastic flower is merely indicated by chiselled touches on the abandoned stone, though dampness has since laid its blossoms of mouldy greenery upon it. On the facade, side by side with the tracery of one window, another window presents its masses of jagged stone carved only by the hand of time. Here, to the least artistic and the least trained eye, is a ravishing contrast between this frontage, where marvels throng, and the interior frontage of the chateau of Louis XII., which is composed of a ground-floor of arcades of fairy lightness supported by tiny columns resting at their base on a graceful platform, and of two storeys above it, the windows of which are carved with delightful sobriety. Beneath the arcade is a gallery, the walls of which are painted in fresco, the ceiling also being painted; traces can still be found of this magnificence, derived from Italy, and testifying to the expeditions of our kings, to which the principality of Milan then belonged.

Opposite to Francois I.'s wing was the chapel of the counts of Blois, the facade of which is almost in harmony with the architecture of the later dwelling of Louis XII. No words can picture the majestic solidity of these three distinct masses of building. In spite of their nonconformity of style, Royalty, powerful and firm, demonstrating its dangers by the greatness of its precautions, was a bond, uniting these three edifices, so different in character, two of which rested against the vast hall of the States-general, towering high like a church.

Certainly, neither the simplicity nor the strength of the burgher existence (which were depicted at the beginning of this history) in which Art was always represented, were lacking to this royal habitation. Blois was the fruitful and brilliant example to which the Bourgeoisie and Feudality, Wealth and Nobility, gave such splendid replies in the towns and in the rural regions. Imagination could not desire any other sort of dwelling for the prince who reigned over France in the sixteenth century. The richness of seignorial garments, the luxury of female adornment, must have harmonized delightfully with the lace-work of these stones so wonderfully manipulated. From floor to floor, as the king of France went up the marvellous staircase of his chateau of Blois, he could see the broad expanse of the beautiful Loire, which brought him news of all his kingdom as it lay on either side of the great river, two halves of a State facing each other, and semi-rivals. If, instead of building Chambord in a barren, gloomy plain two leagues away, Francois I. had placed it where, seventy years later, Gaston built his palace, Versailles would never have existed, and Blois would have become, necessarily, the capital of France.

Four Valois and Catherine de' Medici lavished their wealth on the wing built by Francois I. at Blois. Who can look at those massive partition-walls, the spinal column of the castle, in which are sunken deep alcoves, secret staircases, cabinets, while they themselves enclose halls as vast as that great council-room, the guardroom, and the royal chambers, in which, in our day, a regiment of infantry is comfortably lodged--who can look at all this and not be aware of the prodigalities of Crown and court? Even if a visitor does not at once understand how the splendor within must have corresponded with the splendor without, the remaining vestiges of Catherine de' Medici's cabinet, where Christophe was about to be introduced, would bear sufficient testimony to the elegances of Art which peopled these apartments with animated designs in which salamanders sparkled among the wreaths, and the palette of the sixteenth century illumined the darkest corners with its brilliant coloring. In this cabinet an observer will still find traces of that taste for gilding which Catherine brought with her from Italy; for the princesses of her house loved, in the words of the author already quoted, to veneer the castles of France with the gold earned by their ancestors in commerce, and to hang out their wealth on the walls of their apartments.

The queen-mother occupied on the first upper floor of the apartments of Queen Claude of France, wife of Francois I., in which may still be seen, delicately carved, the double C accompanied by figures, purely white, of swans and lilies, signifying _candidior candidis_--more white than the whitest--the motto of the queen whose name began, like that of Catherine, with a C, and which applied as well to the daughter of Louis XII. as to the mother of the last Valois; for no suspicion, in spite of the violence of Calvinist calumny, has tarnished the fidelity of Catherine de' Medici to Henri II.

The queen-mother, still charged with the care of two young children (him who was afterward Duc d'Alencon, and Marguerite, the wife of Henri IV., the sister whom Charles IX. called Margot), had need of the whole of the first upper floor.

The king, Francois II., and the queen, Mary Stuart, occupied, on the second floor, the royal apartments which had formerly been those of Francois I. and were, subsequently, those of Henri III. This floor, like that taken by the queen-mother, is divided in two parts throughout its whole length by the famous partition-wall, which is more than four feet thick, against which rests the enormous walls which separate the rooms from each other. Thus, on both floors, the apartments are in two distinct halves. One half, to the south, looking to the courtyard, served for public receptions and for the transaction of business; whereas the private apartments were placed, partly to escape the heat, to the north, overlooking the gardens, on which side is the splendid facade with its balconies and galleries looking out upon the open country of the Vendomois, and down upon the "Perchoir des Bretons" and the moat, the only side of which La Fontaine speaks.

The chateau of Francois I. was, in those days, terminated by an enormous unfinished tower which was intended to mark the colossal angle of the building when the succeeding wing was built. Later, Gaston took down one side of it, in order to build his palace on to it; but he never finished the work, and the tower remained in ruins. This royal stronghold served as a prison or dungeon, according to popular tradition.

As we wander to-day through the halls of this matchless chateau, so precious to art and to history, what poet would not be haunted by regrets, and grieved for France, at seeing the arabesques of Catherine's boudoir _whitewashed_ and almost obliterated, by order of the quartermaster of the barracks (this royal residence is now a barrack) at the time of an outbreak of cholera. The panels of Catherine's boudoir, a room of which we are about to speak, is the last remaining relic of the rich decorations accumulated by five artistic kings. Making our way through the labyrinth of chambers, halls, stairways, towers, we may say to ourselves with solemn certitude: "Here Mary Stuart