Mansard, who laid a blight on architecture that lasted for two hundred years, once got hold of Chambord and spoiled what he could, and had planned to do worse things, but something—death, perhaps—interfered. That was when Louis XIV brought Queen Maria Theresa to Chambord, and held high and splendid court there, surrounding himself with brilliant men and women, among them Molière and the widow of the poet Scarron, Françoise d'Aubigné, the same that later became queen, under the title of Madame de Maintenon. That was the heyday of Chambord's history. A large guardroom was gilded and converted into a theater. Molière gave first presentations there and received public compliment from the king. Diversion was the order of the day and night.
"The court is very gay—the king hunts much," wrote Maintenon; "one eats always with him; there is one day a ball, and the next a comedy."
Nothing very startling has happened at Chambord since Louis' time. Its tenants have been numerous enough, and royal, or distinguished, but they could not maintain the pace set by Louis XIV. Stanislas Leckzinski, the exiled Polish king, occupied it during the early years of the eighteenth century, and succeeded in marrying his daughter to the dissolute Louis XV. Seventy years later the revolution came along. An order was issued to sell the contents of Chambord, and a greedy rabble came and stripped it clean. There was a further decree to efface all signs of royalty, but when it was discovered that every bit of carving within and without the vast place expressed royalty in some manner, and that it would cost twenty thousand dollars to cut it away, this project was happily abandoned. Chambord was left empty but intact. Whatever has been done since has been in the way of restoration.
There is not a particle of shade around Chambord. It stands as bare and exposed to the blazing sky to-day as it did when those eighteen hundred workmen laid down their tools four hundred years ago. There is hardly a shrub. Even the grass looks discouraged. A location, indeed, for a royal palace!
We left the car under the shade of a wall and crossed a dazzling open space to the entrance of a court where we bought entrance tickets. Then we crossed the blinding court and were in a cool place at last, the wide castle entrance. We were surprised a little, though, to find a ticket box and a registering turnstile. Things are on a business basis at Chambord. I suppose the money collected is used for repairs.
The best advertised feature of Chambord is the one you see first, the great spiral double stairway arranged one flight above the other, so that persons may be ascending without meeting others who are descending at the same moment. Many persons would not visit Chambord but for this special show feature. Our conductor made us ascend and descend to prove that this unrivaled attraction would really work as advertised. It is designed on the principle of the double stripes on a barber pole.
But there are other worth-while features at Chambord. We wandered through the great cool rooms, not furnished, yet not empty, containing as they do some rare pictures, old statuary and historic furniture, despoiled by the revolutionists, now restored to their original setting. Chambord is not a museum. It belongs to a Duke of Parma, a direct descendant from Louis XIV. Under Louis XVIII the estate was sold, but in 1821 three hundred thousand dollars was raised by public subscription to purchase the place for the remaining heir of the Bourbon dynasty, the Duke of Bordeaux, who accepted with the gift the title of the Count of Chambord. But he was in exile and did not come to see his property for fifty years; even then only to write a letter renouncing his claim to the throne and to say once more good-by to France. He willed the property to the children of his sister, the Duchess of Parma, and it is to the next generation that it belongs to-day. Our conductor told us that the present Duke of Parma comes now and then for the shooting, which is still of the best.
We ascended to the roof, which is Chambord's chief ornament. It is an architectural garden. Such elaboration of turrets with carved leafwork and symbolism, such richness of incrustation and detail, did, in fact, suggest some fantastic and fabulous culture. If it had not been all fairly leaping with heat I should have wished to stay longer.
But I would not care to go to Chambord again. As we drove down the long drive, and turned a little for a last look at that enormous frontage, those immense low towers, that superb roof structure—all that magnificence dropped down there in a dreary level—I thought, "If ever a house was a white elephant that one is, and if one had to rename it it might well be called Francis's Folly."
I suppose it was two hours later when we had been drifting drowsily up the valley of the Loire that we stopped in a village for water. There was an old church across the way, and as usual we stepped inside, as much for the cool refreshment as for anything, expecting nothing else worth while.