[Chenonceaux, Marques Tower and Gallery across the Cher]

Passing up the long avenue we made a détour to the left, attracted by some rich carvings at the end of the tennis court,—and what a tennis court it is!—smooth, green, beautifully made, with a background of forest trees skirting it on two sides.

The approach to the château is in keeping with its stately beauty. After traversing the second avenue of plane trees, we passed between two great sphinxes which guard the entrance to the court, with the ancient dungeon-keep on the right and on the left the Domes buildings, which seem to include the servants' quarters and stables. Beyond this is the drawbridge which spans the wide moat and gives access to a spacious rectangular court. This moat of clear, running water, its solid stone walls draped with vines and topped with blooming plants, defines the ancient limits of the domain of the Marques family who owned this estate as far back in history as the thirteenth century. Where the beautiful château now stands there was once a fortified mill. The property passed into the hands of Thomas Bohier, in the fifteenth century, who conceived the bold idea of turning the old mill into a château, its solid foundations, sunk into the Cher, affording a substantial support for the noble superstructure; or, as Balzac says, "Messire de Bohier, the Minister of Finances, as a novelty placed his house astride the River Cher." A château built over a river! Can you imagine anything more picturesque, or, as Miss Cassandra says, anything more unhealthy? The sun shone gaily to-day, and the rooms felt fairly dry, but during the long weeks of rain that come to France in the spring and late autumn these spacious salles must be as damp as a cellar. Miss Cassandra says that the bare thought of sleeping in them gives her rheumatic twinges. There are handsome, richly decorated mantels and chimney-places in all of the great rooms, but they look as if they had not often known the delights of a cheerful fire of blazing logs.

The old building is in the form of a vast square pavilion, flanked on each corner by a bracketed turret upon which there is a wealth of Renaissance ornamentation. On the east side are the chapel and a small outbuilding, which form a double projection and enclose a little terrace on the ground floor. Over the great entrance door are carvings and heraldic devices, and over the whole façade of the château there is a rich luxuriance of ornamentation which, with the wide moat surrounding it, and the blooming parterres spread before it, give the entire castle the air of being en fête, not relegated to the past like Langeais, Amboise, and some of the other châteaux that we have seen.

However Diane de Poitiers and Catherine de Médici may have beautified this lovely palace on the Cher, its inception seems to have been due to Bohier, the Norman géneral des finances of Charles VIII, or perhaps to his wife Katherine Briçonnet, a true lover of art, who like her husband spent vast sums upon Chenonceaux. The fact that Bohier died before the château was anywhere near completion makes the old French inscription on the tower, and elsewhere on the walls, especially pathetic, "S'il vient a point, m'en souviendra" (If completed, remember me). Even unfinished as the Norman financier left Chenonceaux, one cannot fail to remember him and his dreams of beauty which others were destined to carry out.

Unique in situation and design is the great gallery, sixty metres in height, which Philibert de l'Orme, at Queen Catherine's command, caused to rise like a fairy palace from the waters of the Cher. This gallery of two stories, decorated in the interior with elaborate designs in stucco, and busts of royal and distinguished persons, is classic in style and sufficiently substantial in structure, as it rests upon five arches separated by abutments, on each of which is a semicircular turret rising to the level of the first floor. Designed for a salle des fêtes, this part of the castle was never quite finished in consequence of the death of Catherine, who intended that an elaborate pavilion, to match Bohier's château on the opposite bank of the river, should mark the terminus of the gallery. The new building was far enough advanced, however, to be used for the elaborate festivities that had been planned for Francis II and Queen Mary when they fled from the horrors of Amboise to the lovely groves and forests of Chenonceaux.

Standing in the long gallery, which literally bridges the Cher, we wondered whether the masques and revels held here in honor of the Scotch Queen were able to dispel sad thoughts of that day at Amboise, of whose miseries we heard so much yesterday. Mary Stuart, more than half French, was gay, light-hearted and perhaps in those early days with a short memory for the sorrows of life; but it seems as if the recollection of that day of slaughter and misery could never have been quite effaced from her mind. To Catherine, who revelled in blood and murder, the day was one of triumph, but its horrors evidently left their impress upon the delicate physique as well as upon the sensitive mind of the frail, gentle Francis.

Since we have heard so much of the evil deeds of Catherine it has become almost unsafe to take Miss Cassandra into any of the palaces where the Medicean Queen is honored by statue or portrait. When we passed from the spacious salle des gardes, later used as the dining hall of the Briçonnet family, into the room of Diane de Poitiers, it seemed the very irony of fate that a large portrait of the arch enemy of the beautiful Diane should adorn the richly carved chimney-place. I should not say adorn, for Catherine's unattractive face could adorn nothing, and this severe portrait in widow's weeds, with none of the pomp and circumstance of royalty to light up the sombre garb, is singularly undecorative. Although she had already announced that she had no great affection for Diane, Catherine's portrait in this particular room excited Miss Cassandra's wrath to such a degree that her words and gestures attracted the attention of the guide. At first he looked perplexed and then indignantly turned to us for an explanation: "What ailed the lady, and why was she displeased? He was doing his best to show us the château." We reassured him, smoothed down his ruffled feathers, and finally explained to him that Miss Cassandra had a deep-rooted aversion to Queen Catherine and especially resented having her honored by portrait or bust in these beautiful French castles, above all in this room of her hated rival.

"Diane was none too good herself," he replied with a grim smile; "but she was beautiful and had wit enough to hold the hearts of two kings." Then, entering into the spirit of the occasion, he turned to Miss Cassandra and by dint of shrugs, and no end of indescribable and most expressive French gestures, he made her understand that he had no love for Catherine himself, and that if it lay within his pouvoir he would throw the unlovely portrait out of the window; no one cared for her,—her own husband least of all. This last remark was accompanied with what was intended for a wicked wink, exclusively for Walter's benefit, but its wickedness was quite overcome by the irresistible and contagious good humor and bonhomie of the man. Finding that his audience was en rapport with him, he drew our attention to the wall decoration, which consists of a series of monograms, and asked us how we read the design.