The palace, the park and the forest now became a sort of royal appanage of this Spanish monarch, which Napoleon, in a generous spirit, could well afford to will him. He lived here some months and then left precipitately for Marseilles.
Napoleon affected a certain regard for this palatial property, though only occupying it at odd moments. He embellished its surroundings, above all its gardens, in a most lavish manner. Virtually, all things considered, Compiègne is a Palais Napoleonien, and if one would study the style of the Empire at its best the thing may be done at Compiègne.
On July 30, 1814, Louis XVIII and Alexander of Russia met at Compiègne amid a throng of Paris notabilities who had come thither for the occasion.
Charles X loved to hunt in the forest of Compiègne. In 1832, one of the daughters of Louis-Philippe, the Princesse Louise, was married to the King of the Belgians in this palace.
From 1852 to 1870 the palace and its grounds were the scenes of many imperial fêtes.
Napoleon III had for Compiègne a particular predilection. The prince-president, in 1852, installed himself here for the autumn season, and among his guests was that exquisite blond beauty, Eugenie Montijo, who, the year after, was to become the empress of the French. Faithful to the memory of his uncle, by reason of a romantic sentiment, the Third Napoleon came frequently to Compiègne; or perhaps it was because of the near-by hunt, for he was a passionate disciple of Saint Hubert. It was his Versailles!
The palace of Compiègne as seen to-day presents all the classic coldness of construction of the reign of Louis XV. Its lines were severe and that the building was inspired by a genius is hard to believe, though in general it is undeniably impressive. Frankly, it is a mocking, decadent eighteenth century architecture that presents itself, but of such vast proportions that one sets it down as something grand if not actually of surpassing good taste.
In general the architecture of the palace presents at first glance a coherent unit, though in reality it is of several epochs. Its furnishings within are of different styles and periods, not all of them of the best. Slender gold chairs, false reproductions of those of the time of Louis XV, and some deplorable tapestries huddle close upon elegant "bergères" of Louis XVI, and sofas, tables and bronzes of master artists and craftsmen are mingled with cheap castings unworthy of a stage setting in a music hall. A process of adroit eviction will some day be necessary to bring these furnishings up to a consistent plane of excellence.
One of the façades is nearly six hundred feet in length, with forty-nine windows stretching out in a single range. It might be the front of an automobile factory if it were less ornate, or that of an exposition building were it more beautiful. In some respects it is reminiscent of the Palais Royal at Paris, particularly as to the entrance colonnade and gallery facing the Louvre.
The chief beauty within is undoubtedly the magnificent stairway, with its balustrade of wrought iron of the period of Louis XVI. The Salle de Spectacle is of a certain Third Empire-Louis Napoleon distinction, which is saying that it is neither very lovely nor particularly plain, simply ordinary, or, to give it a French turn of phrase, vulgar.