A Little Tour of France. Генри Джеймс

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СКАЧАТЬ but it rather chills the imagination. This is perhaps almost the first thing you feel as you approach the castle from the streets of the town. These little streets, as they leave the river, have pretensions to romantic steepness; one of them, indeed, which resolves itself into a high staircase with divergent wings (the escalier monumental), achieved this result so successfully as to remind me vaguely—I hardly know why—of the great slope of the Capitol, beside the Ara Cœli, at Rome. The view of that part of the castle which figures to-day as the back (it is the only aspect I had seen reproduced) exhibits the marks of restoration with the greatest assurance. The long façade, consisting only of balconied windows deeply recessed, erects itself on the summit of a considerable hill, which gives a fine, plunging movement to its foundations. The deep niches of the windows are all aglow with colour. They have been repainted with red and blue, relieved with gold figures; and each of them looks more like the royal box at a theatre than like the aperture of a palace dark with memories. For all this, however, and in spite of the fact that, as in some others of the châteaux of Touraine (always excepting the colossal Chambord, which is not in Touraine), there is less vastness than one had expected, the least hospitable aspect of Blois is abundantly impressive. Here, as elsewhere, lightness and grace are the keynote; and the recesses of the windows, with their happy proportions, their sculpture and their colour, are the hollow sockets of the human ornament. They need the figure of a Francis I. to complete them, or of a Diane de Poitiers, or even of a Henry III. The stand of this empty gilt cage emerges from a bed of light verdure which has been allowed to mass itself there and which contributes

       BLOIS—THE CHÂTEAU [Click to view image enlarged.]

      Blois

      to the springing look of the walls; while on the right it joins the most modern portion of the castle, the building erected, on foundations of enormous height and solidity, in 1635, by Gaston d'Orléans. This fine frigid mansion—the proper view of it is from the court within—is one of the masterpieces of François Mansard, whom a kind providence did not allow to make over the whole palace in the superior manner of his superior age. That had been a part of Gaston's plan—he was a blunderer born, and this precious project was worthy of him. This execution of it would surely have been one of the great misdeeds of history. Partially performed, the misdeed is not altogether to be regretted; for as one stands in the court of the castle and lets one's eye wander from the splendid wing of Francis I.—which is the last word of free and joyous invention—to the ruled lines and blank spaces of the ponderous pavilion of Mansard, one makes one's reflections upon the advantage, in even the least personal of the arts, of having something to say, and upon the stupidity of a taste which had ended by becoming an aggregation of negatives. Gaston's wing, taken by itself, has much of the bel air which was to belong to the architecture of Louis XIV.; but, taken in contrast to its flowering, laughing, living neighbour, it marks the difference between inspiration and calculation. We scarcely grudge it its place, however, for it adds a price to the rest of the pile.

      We have entered the court, by the way, by jumping over the walls. The more orthodox method is to follow a modern terrace which leads to the left, from the side of the edifice that I began by speaking of, and passes round, ascending, to a little square on a considerably higher level, a square not, like the rather prosaic space on which the back (as I have called it) looks out, a thoroughfare. This small empty place, oblong in form, at once bright and quiet, and which ought to be grass-grown, offers an excellent setting to the entrance-front of the palace—the wing of Louis XII. The restoration here has been lavish; but it was perhaps but an inevitable reaction against the injuries, still more lavish, by which the unfortunate building had long been overwhelmed. It had fallen into a state of ruinous neglect, relieved only by the misuse proceeding from successive generations of soldiers, for whom its charming chambers served as barrack-room. Whitewashed, mutilated, dishonoured, the castle of Blois may be said to have escaped simply with its life. This is the history of Amboise as well, and is to a certain extent the history of Chambord. Delightful, at any rate, was the refreshed façade of Louis XII. as I stood and looked at it one bright September morning. In that soft, clear, merry light of Touraine, everything shows, everything speaks. Charming are the taste, the happy proportions, the colour of this beautiful front, to which the new feeling for a purely domestic architecture—an architecture of security and tranquillity, in which art could indulge itself—gave an air of youth and gladness. It is true that for a long time to come the castle of Blois was neither very safe nor very quiet; but its dangers came from within, from the evil passions of its inhabitants, and not from siege or invasion. The front of Louis XII. is of red brick, crossed here and there with purple; and the purple slate of the high roof, relieved with chimneys beautifully treated and with the embroidered caps of pinnacles and arches, with the porcupine of Louis, the ermine and the festooned rope which formed the devices of Anne of Brittany—the tone of this decorative roof carries out the mild glow of the wall. The wide, fair windows open as if they had expanded to let in the rosy dawn of the Renaissance. Charming, for that matter, are the windows of all the châteaux of Touraine, with their squareness corrected (as it is not in the Tudor architecture) by the curve of the upper corners, which gives this line the look, above the expressive aperture, of a pencilled eyebrow. The low door of this front is crowned by a high, deep niche, in which, under a splendid canopy, stiffly astride of a stiffly-draped charger, sits in profile an image of the good King Louis. Good as he had been—the father of his people, as he was called (I believe he remitted various taxes)—he was not good enough to pass muster at the Revolution; and the effigy I have just described is no more than a reproduction of the primitive statue demolished at that period.

      Pass beneath it into the court, and the sixteenth century closes round you. It is a pardonable flight of fancy to say that the expressive faces of an age in which human passions lay very near the surface seem to peep out at you from the windows, from the balconies, from the thick foliage of the sculpture. The portion of the wing of Louis XII. that fronts toward the court is supported on a deep arcade. On your right is the wing erected by Francis I., the reverse of the mass of building which you see on approaching the castle. This exquisite, this extravagant, this transcendent piece of architecture is the most joyous utterance of the French Renaissance. It is covered with an embroidery of sculpture in which every detail is worthy of the hand of a goldsmith. In the middle of it, or rather a little to the left, rises the famous winding staircase (plausibly, but I believe not religiously, restored), which even the ages which most misused it must vaguely have admired. It forms a kind of chiselled cylinder, with wide interstices, so that the stairs are open to the air. Every inch of this structure, of its balconies, its pillars, its great central columns, is wrought over with lovely images, strange and ingenious devices, prime among which is the great heraldic salamander of Francis I. The salamander is everywhere at Blois—over the chimneys, over the doors, on the walls. This whole quarter of the castle bears the stamp of that eminently pictorial prince. The running cornice along the top of the front is like an unfolded, an elongated bracelet. The windows of the attic are like shrines for saints. The gargoyles, the medallions, the statuettes, the festoons are like the elaboration of some precious cabinet rather than the details of a building exposed to the weather and to the ages. In the interior there is a profusion of restoration, and it is all restoration in colour. This has been, evidently, a work of great energy and cost, but it will easily strike you as overdone. The universal freshness is a discord, a false note; it seems to light up the dusky past with an unnatural glare. Begun in the reign of Louis Philippe, this terrible process—the more terrible always the better case you conceive made out for it—has been carried so far that there is now scarcely a square inch of the interior that preserves the colour of the past. It is true that the place had been so coated over with modern abuse that something was needed to keep it alive; it is only perhaps a pity the clever doctors, not content with saving its life, should have undertaken to restore its bloom. The love of consistency, in such a business, is a dangerous lure. All the old apartments have been rechristened, as it were; the geography of the castle has been re-established. The guard-rooms, the bedrooms, the closets, the oratories have recovered their identity. Every spot connected with the murder of the

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