Louis XIV and La Grande Mademoiselle, 1652-1693. Barine Arvède

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СКАЧАТЬ her as a companion in arms. She rejoiced the soldiers by her martial carriage, and any one of them would have been not only surprised but very indignant if it had been suggested that she was capable of being almost as cowardly as her father, the "triste Gaston."

      Now all that was finished, even the romantic flight. While playing hide-and-seek with imaginary pursuers, the Grande Mademoiselle had fallen into a state of physical and moral prostration. The heroine of Orléans and of Porte Saint-Antoine sobbed like a little child because she "had too much grief" and was "too afraid"[3]; the aspect of her future home had taken away the last remnants of courage.

      The Château of Saint-Fargeau, begun under Hugh Capet and often repaired, particularly during the fifteenth century, seemed more like a fortress than a peaceful dwelling. Its heavy mass dominated the valley of the Loing, a region of great and dense forests, with few clearings. Itself enveloped with brushwood and protected by deep moats, the château harmonised well with the surroundings. Its windows opened at a great height above the ground, and its towers were strong. The body of the building was massive and bare, united by strong ramparts forming an enceinte irregular with severe appearance.

      The ensemble was imposing, never smiling. Saint-Fargeau, long uninhabited, was almost a ruin filled with rats at the time when Mademoiselle presented herself as a fugitive. She was shown into a room with a prop in the centre. Coming from the palace of the Tuileries, this sight overwhelmed her, and made her realise the depth of her fall. She had an access of despair: "I am most unfortunate to be absent from Court, to have only a dwelling as ugly as this, and to realise that this is the best of my châteaux." Her fear became terror when she discovered that doors and windows were lacking. A report came from a valet that she was sought for imprisonment, and she was too confused to reflect that if the King had ordered her arrest locks would have been useless.

      

ANNE MARIE LOUISE D'ORLÉANS, DUCHESSE DE MONTPENSIER From the enamel by Petitot in the South Kensington Museum

       She continued her journey to reach a little château, situated two leagues from Saint-Fargeau, which was reported safer. "Imagine," says she, "with what pleasure I made the extra journey. I had risen two hours before daylight; I had ridden twenty-two miles upon a horse already worn out with previous travel. We arrived at our destination at three in the morning; I went to bed in haste." The crisis was short. The next day it was explained to Mademoiselle that Saint-Fargeau had two exits in case of alarm. She returned in consequence on the fourth day, and there was no more question of grief, nor even ill-temper; from that moment the place was "good and strong."

      The Princess adapted herself to the glassless windows, the broken ceilings, the absence of doors, and all the rest. The great ladies of the seventeenth century were fortunately not too particular. Mademoiselle encamped in a cellar while the apartment above was being repaired, and was forced to borrow a bed. She recovered all her gaiety before the comicality of the situation: "for the first cousin of the King of France." "Happily for me," wrote she, "the bailiff of the château had been recently married; therefore he possessed a new bed." The bed of Madame the Bailiff was the great resource of the château. It was returned as soon as the Princess received her own from Paris, but it was again used to give a resting-place to the Christmas guests, many of whom appeared—a fact to the credit of the French nobility—as soon as it was known where the illustrious unfortunate was passing her period of banishment.

      Mademoiselle did not know how to provide for these guests and the most important were lodged with the bailiff. The Duchess of Sully and her sister, the Marquise of Laval, came together for a prolonged sojourn and performed the office of shuttle between the cellar in which the Grande Mademoiselle held her court and "the new bed of the city of Saint-Fargeau." Ladies of quality arriving at this time lodged where they could with small regard to comfort, and this condition lasted until the château was put in order. Every one suffered but nobody complained. There was a certain elegance in this haughty fashion of ignoring comfort, the importance of which in our own days seems in comparison rather bourgeois, in the worst sense of the word.

      Gradually all was arranged. The château was restored, the apartments enlarged.[4] The overgrowth of the approaches gave place to a terrace from which to the surprise of all a charming view was discovered. The Saint-Fargeau of the Capets and of the first Valois, "a place so wild," says Mademoiselle, "that when I arrived, only herbs fit for soup were to be found," became a beautiful residence, hospitable and animated.

      

      The mistress of the place loved open air and movement, as did all the French nobility before an absolute monarchy, in the interest of order and peace, had trained them to rest tranquilly in the salons of Versailles. Muscular decadence commenced with the French at the epoch when it became the fashion to pass the days in silk stockings and practising bows, under punishment of being excluded from all society. Violent exercises were abandoned or made more gentle.[5] Attention was paid only to what gave majestic grace to the body in harmony with the Versailles "Galerie of Mirrors."

      The bourgeoisie were eager to imitate the people of quality, and the higher classes paid for their fine manners or their attempts at fine manners with the headaches and nervous disorders of the eighteenth century. The taste for sport has only reappeared in France during our own times. We are now witnessing its resurrection.

      This taste, however, was still lively immediately after the Fronde, and Mademoiselle abandoned herself to it with passion. She ordered from England a pack of hounds and hunters. She possessed many equipages. With a game of marl before the château, indoor games for rainy days, violins from the Tuileries to play for dancing, it would be difficult to find a court more brisk, more constantly in joyous movement.

      

      Mademoiselle, whom nothing tired, set an example, and seasoned these "games of action" with causeries, some of which happily have been preserved for us by Segrais,[6] her Secretary of the Commandments. Thanks to him, we know, even admitting that he may have slightly rearranged his reports, what they talked about at the court of Saint-Fargeau, and one cannot fail to be somewhat surprised. He tells us all sorts of things of which we never should have dreamed, things that we have never imagined as subjects of interest in the seventeenth century. In this age which believed itself entirely indifferent towards nature, conversation nevertheless fell ceaselessly upon the beauties of landscape. People paused to admire "points of view," sought them, and endeavoured to explain why they were beautiful. The reasons given were, that those who knew how to enjoy a large forest and "the beautiful carpet of moss at the feet," actually preferred landscapes made more intelligible through the intervention of man. A desert pleased them less than an inhabited country, a wild landscape less than sunny collections of cultivated fields and orchards symmetrically planted, recalling "the agreeable variety of parterres made by the ingenuity of man."

      

      Mademoiselle praises in her Mémoires the view from the end of the terrace. She attempts to describe it and fails. Segrais also tries in vain. It was impossible at that epoch. The vocabulary did not exist which could furnish words to describe a landscape. The creation of our descriptive vocabulary is one of Bernardin de Saint-Pierre's[7] greatest glories. In compensation, Segrais knew very well how to explain why the beauty of the view, about which he had so ineffectively written, pleased him and his companions. He said that, arranged by chance, it conformed to the rules of classic pictures and in no way appeared the sole work of nature. Neither the valley of the Loing nor the immense marsh which closed this side of the château, nor the island in the midst of this marsh, with clumps of trees, nor the church and small height which could be perceived, seemed placed without human intervention. "And this," writes Segrais, "is so well represented in those excellent landscapes of the great artists, that all who look upon it believe that they have seen the marsh, СКАЧАТЬ