From below the castle would look crushed by the redundancy of its upper protuberances if it were not for the enormous girth of its round towers, which appear to give it a robust lateral development. These towers, however, fine as they are in their way, struck me as a little stupid; they are the exaggeration of an exaggeration. In a building erected after the days of defence and proclaiming its peaceful character from its hundred embroideries and cupolas, they seem to indicate a want of invention. I shall risk the accusation of bad taste if I say that, impressive as it is, the Château de Chambord seemed to me to have altogether a touch of that quality of stupidity. The trouble is that it stands for nothing very momentous; it has not happened, in spite of sundry vicissitudes, to have a strongly-marked career. Compared with that of Blois and Amboise its past is rather vacant; and one feels to a certain extent the contrast between its pompous appearance and its spacious but somewhat colourless annals. It had indeed the good fortune to be erected by Francis I., whose name by itself expresses a good deal of history. Why he should have built a palace in those sandy plains will ever remain an unanswered question, for kings have never been obliged to give reasons. In addition to the fact that the country was rich in game and that Francis was a passionate hunter, it is suggested by M. de la Saussaye, the author of the very complete little account of the place which you may buy at the bookseller's at Blois, that he was governed in his choice of the site by the chance that a charming woman had previously lived there. The Comtesse de Thoury had a manor in the neighbourhood, and the Comtesse de Thoury had been the object of a youthful passion on the part of the most susceptible of princes before his accession to the throne. This great pile was reared, therefore, according to M. de la Saussaye, as a souvenir de premières amours! It is certainly a very massive memento; and if these tender passages were proportionate to the building that commemorates them, the flame blazed indeed. There has been much discussion as to the architect employed by Francis I., and the honour of having designed this splendid residence has been claimed for several of the Italian artists who early in the sixteenth century came to seek patronage in France. It seems well established to-day, however, that Chambord was the work neither of Primaticcio, of Vignola, nor of Il Rosso, all of whom have left some trace of their sojourn in France; but of an obscure yet very complete genius, Pierre Nepveu, known as Pierre Trinqueau, who is designated in the papers which preserve in some degree the history of the origin of the edifice, as the maistre de l'œuvre de maçonnerie. Behind this modest title, apparently, we must recognise one of the most original talents of the French Renaissance; and it is a proof of the vigour of the artistic life of that period that, brilliant production being everywhere abundant, an artist of so high a value should not have been treated by his contemporaries as a celebrity. We make our celebrities to-day at smaller cost.
The immediate successors of Francis I. continued to visit Chambord; but it was neglected by Henry IV. and was never afterwards a favourite residence of any French king. Louis XIV. appeared there on several occasions, and the apparition was characteristically brilliant; but Chambord could not long detain a monarch who had gone to the expense of creating a Versailles ten miles from Paris. With Versailles, Fontainebleau, Saint-Germain and Saint-Cloud within easy reach of their capital, the later French sovereigns had little reason to take the air in the dreariest province of their kingdom. Chambord therefore suffered from royal indifference, though in the last century a use was found for its deserted halls. In 1725 it was occupied by the luckless Stanislaus Leczynski, who spent the greater part of his life in being elected King of Poland and being ousted from his throne, and who, at this time a refugee in France, had found a compensation for some of his misfortunes in marrying his daughter to Louis XV. He lived eight years at Chambord and filled up the moats of the castle. In 1748 it found an illustrious tenant in the person of Maurice de Saxe, the victor of Fontenoy, who, however, two years after he had taken possession of it, terminated a life which would have been longer had he been less determined to make it agreeable. The Revolution, of course, was not kind to Chambord. It despoiled it in so far as possible of every vestige of its royal origin, and swept like a whirlwind through apartments to which upwards of two centuries had contributed a treasure of decoration and furniture. In that wild blast these precious things were destroyed or for ever scattered. In 1791 an odd proposal was made to the French Government by a company of English Quakers, who had conceived the bold idea of establishing in the palace a manufacture of some peaceful commodity not to-day recorded. Napoleon allotted Chambord, as a "dotation," to one of his marshals, Berthier, for whose benefit it was converted, in Napoleonic fashion, into the so-called principality of Wagram. By the Princess of Wagram, the marshal's widow, it was, after the Restoration, sold to the trustees of a national subscription which had been established for the purpose of presenting it to the infant Duke of Bordeaux, then prospective King of France. The presentation was duly made; but the Comte de Chambord, who had changed his title in recognition of the gift, was despoiled of his property by the government of Louis Philippe. He appealed for redress to the tribunals of his country; and the consequence of his appeal was an interminable litigation, by which, however, finally, after the lapse of twenty-five years, he was established in his rights. In 1871 he paid his first visit to the domain which had been offered him half a century before, a term of which he had spent forty years in exile. It was from Chambord that he dated his famous letter of the 5th of July of that year—the letter, directed to his so-called subjects, in which he waves aloft the white flag of the Bourbons. This rare miscalculation—virtually an invitation to the French people to repudiate, as their national ensign, that immortal tricolour, the flag of the Revolution and the Empire, under which they have won the glory which of all glories has hitherto been dearest to them and which is associated with the most romantic, the most heroic, the epic, the consolatory, period of their history—this luckless manifesto, I say, appears to give the measure of the political wisdom of the excellent Henry V. The proposal should have had less simplicity or the people less irony.
On Chambord the whole Chambord makes a great impression; and the hour I was there, while the yellow afternoon light slanted upon the September woods, there was a dignity in its desolation. It spoke, with a muffled but audible voice, of the vanished monarchy, which had been so strong, so splendid, but to-day had become a vision almost as fantastic as the cupolas and chimneys that rose before me. I thought, while I lingered there, of all the fine things it takes to make up such a monarchy; and how one of them is a superfluity of mouldering, empty palaces. Chambord is touching—that is the best word for it; and if the hopes of another restoration are in the follies of the Republic, a little reflection on that eloquence of ruin ought to put the Republic on its guard. A sentimental tourist may venture to remark that in presence of all the haunted houses that appeal in this mystical manner to the retrospective imagination it cannot afford to be foolish. I thought of all this as I drove back to Blois by the way of the Château de Cheverny. The road took us out of the park of Chambord, but through a region of flat woodland, where the trees were not mighty, and again into the prosy plain of the Sologne—a thankless soil to sow, I believe, but lately much amended by the magic of cheerful French industry and thrift. The light had already begun to fade, and my drive reminded me of a passage in some rural novel of Madame Sand. I passed a couple of timber and plaster churches, which looked very old, black and crooked, and had lumpish wooden porches and galleries encircling the base. By the time I reached Cheverny the clear twilight had approached. It was late to ask to be allowed to visit an inhabited house; but it was the hour at which I like best to visit almost anything. My coachman drew up before a gateway, in a high wall, which opened upon a short avenue, along which I took my way on foot; the coachmen in those parts being, for reasons best known to themselves, mortally averse to driving up to a house. I answered the challenge of a very tidy little portress who sat, in company with a couple of children, enjoying the evening air in front of her lodge, and who told me to walk a little farther and turn to the right. I obeyed her to the letter, and my turn brought me into sight of a house as charming as an old manor in a fairy tale. I had but a rapid and partial view of Cheverny; but that view was a glimpse of perfection. A light, sweet mansion stood looking over a wide green lawn, over banks of flowers and groups of trees. It had a striking character of elegance, produced partly by a series of Renaissance busts let into circular niches in the façade. The place looked so private, so reserved, that it seemed an act of violence to ring, a stranger and foreigner, at the graceful door. But if I had not rung I should be unable to express—as it is such a pleasure to do—my sense of the exceeding courtesy with which this admirable house is shown. It was near the dinner-hour—the