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.