This part of the building, where Catherine and Mary Stuart held magnificent court, had in the middle of the façade a hexagonal hollow tower, up which winds a staircase in stone, an arabesque device invented by giants and executed by dwarfs to give this front the effect of a dream. The balustrade of the stairs rises in a spiral of rectangular panels composing the five walls of the tower, and forming at regular intervals a transverse cornice, enriched outside and in with florid carvings in stone. This bewildering creation, full of delicate and ingenious details and marvels of workmanship, by which these stones speak to us, can only be compared to the overcharged and deeply cut ivory carvings that come from China, or are made at Dieppe. In short, the stone is like lace. Flowers and figures of men and animals creep down the ribs, multiply at every step, and crown the vault with a pendant, in which the chisels of sixteenth century sculptors have outdone the artless stone-carvers who, fifty years before, had made the pendants for two staircases in Louis XII.'s building. Though we may be dazzled as we note these varied forms repeated with infinite prolixity, we nevertheless perceive that Francis I. lacked money for Blois, just as Louis XIV. did for Versailles. In more than one instance a graceful head looks out from a block of stone almost in the rough. More than one fanciful boss is but sketched with a few strokes of the chisel, and then abandoned to the damp, which has overgrown it with green mould. On the façade, by the side of one window carved like lace, another shows us the massive frame eaten into by time, which has carved it after a manner of its own.
The least artistic, the least experienced eye finds here a delightful contrast between this front, rippling with marvels of design, and the inner front of Louis XII.'s château, consisting on the ground floor of arches of the airiest lightness, upheld by slender columns, resting on elegant balustrades, and two stories above with windows wrought with charming severity. Under the arches runs a gallery, of which the walls were painted in fresco; the vaulting too must have been painted, for some traces are still visible of that magnificence, imitated from Italian architecture—a reminiscence of our Kings' journeys thither when the Milanese belonged to them.
Opposite the residence of Francis I. there was at that time the chapel of the Counts of Blois, its façade almost harmonizing with the architecture of Louis XII.'s building. No figure of speech can give an adequate idea of the solid dignity of these three masses of building. In spite of the varieties of style, a certain imposing royalty, showing the extent of its fear by the magnitude of its defences, held the three buildings together, different as they were; two of them flanking the immense hall of the States-General, as vast and lofty as a church.
And certainly neither the simplicity nor the solidity of those citizen lives which were described at the beginning of this narrative—lives in which Art was always represented—was lacking to this royal residence. Blois was the fertile and brilliant example which found a living response from citizens and nobles, from money and rank, alike in towns and in the country. You could not have wished that the home of the King who ruled Paris as it was in the sixteenth century should be other than this. The splendid raiment of the upper classes, the luxury of feminine attire, must have seemed singularly suited to the elaborate dress of the curiously wrought stones.
From floor to floor, as he mounted the wonderful stairs of his castle of Blois, the King of France could see further and further over the beautiful Loire, which brought him news of all his realm, which it parts into two confronted and almost rival halves. If, instead of placing Chambord in a dead and gloomy plain two leagues away, Francis I. had built a Chambord to complete Blois on the site of the gardens, where Gaston subsequently erected his palace, Versailles would never have existed, and Blois would inevitably have become the capital of France.
Four Valois and Catherine de' Medici lavished their wealth on the Château of Blois, but any one can guess how prodigal the sovereigns were, only from seeing the thick dividing wall, the spinal column of the building, with deep alcoves cut into its substance, secret stairs and closets contrived within it, surrounding such vast rooms as the council hall, the guardroom, and the royal apartments, in which a company of infantry now finds ample quarters. Even if the visitor should fail to understand at a first glance that the marvels of the interior are worthy of those of the exterior, the remains of Catherine de' Medici's room—into which Christophe was presently admitted—are sufficient evidence of the elegant art which peopled these rooms with lively fancies, with salamanders sparkling among flowers, with all the most brilliant hues of the palette of the sixteenth century decorating the darkest staircase. In that room the observer may still see the traces of that love of gilding which Catherine had brought from Italy, for the princesses of her country loved (as the author above quoted delightfully expresses it) to overlay the châteaux of France with the gold gained in trade by their ancestors, and to stamp the walls of royal rooms with the sign of their wealth.
The Queen-mother occupied the rooms on the first floor that had formerly been those of Queen Claude de France, Francis I.'s wife; and the delicate sculpture is still to be seen of double C's, with a device in pure white of swans and lilies, signifying Candidior candidis, the whitest of the white, the badge of that Queen whose name, like Catherine's, began with C, and equally appropriate to Louis XII.'s daughter and to the mother of the Valois; for notwithstanding the violence of Calvinist slander, no doubt was ever thrown on Catherine de' Medici's enduring fidelity to Henri II.
The Queen-mother, with two young children still on her hands—a boy, afterwards the Duc d'Alençon, and Marguerite, who became the wife of Henri IV., and whom Charles IX. called Margot—needed the whole of this first floor.
King Francis II. and his Queen Mary Stuart had the royal apartments on the second floor that Francis I. had occupied, and which were also those of Henri III. The royal apartments, and those of the Queen-mother, are divided from end to end of the château into two parts by the famous party wall, four feet thick, which supports the thrust of the immensely thick walls of the rooms. Thus on the lower as well as on the upper floor the rooms are in two distinct suites. That half which, facing the south, is lighted from the court, held the rooms for state receptions and public business; while, to escape the heat, the private rooms had a north aspect, where there is a splendid frontage with arcades and balconies, and a view over the county of the Vendômois, the Perchoir aux Bretons, and the moats of the town—the only town mentioned by the great fable writer, the admirable la Fontaine.
Francis I.'s château at that time ended at an enormous tower, only begun, but intended to mark the vast angle the palace would have formed in turning a flank; Gaston subsequently demolished part of its walls to attach his palace to the tower; but he never finished the work, and the tower remains a ruin. This royal keep was used as a prison, or, according to popular tradition, as oubliettes. What poet would not feel deep regret or weep for France as he wanders now through the hall of this magnificent château, and sees the exquisite arabesques of Catherine de' Medici's room, whitewashed and almost smothered by order of the governor of the barracks at the time of the cholera—for this royal residence is now a barrack.