But Louis XIV was to become more than a mere participant in Ballet—he was to become the virtual founder of modern Ballet as seen on the stage; for it was he—universal patron of the arts—who was to found a Royal Academy of Dance and Music, to the existence and encouragement of which the modern development of both arts is largely due.
All these ballets had been either the principal object or the supplement of superb fêtes given at Versailles or in the other royal palaces. Historians have described the fêtes which Fouquet, the Comptroller of Finances, offered to Louis XIV. As a sidelight on the Comptroller’s magnificence and extravagance, the following is of interest.
The king left Fontainebleau one evening in September, 1660, with his entire Court, in order to have supper at the castle of Vaux-le-Vicomte. The route, five leagues long, was illuminated with waxen torches; and booths, put up at intervals, were laden with all kinds of refreshment for the travellers. The castle, blazing with light, seemed to Louis like some palace of faerie. A magnificently furnished suite was set apart for His Majesty, and the Court was put up in the minister’s house. An immense sideboard, laden with gold and silver plate, was a feature of the room in which the king was to have supper, with a fountain playing in the middle. A splendid banquet was served, and a band placed in a gallery discoursed sweet music. Numerous other tables were set out for the Court; and the whole of the king’s guard, even to the famous livery servants, were entertained most sumptuously during the two days that the fête lasted.
After supper the king took a walk by a lake the shores of which were decorated with orange trees, lemon trees, and pomegranates, planted in gilded tubs, the fruit being available to all who wanted any. Thousands of torches diffused a brilliant light. A theatre, built in the middle of the lake, offered yet further entertainment with a representation of “The Triumph of Venus,” a ballet of a new kind, in which Tritons and Nereids, having swum about in the waves, afterwards proceeded to sing eulogies of King Louis. All the best musicians of Paris had been added to the king’s orchestra, and they were hidden behind the scenery of the theatre, and in the neighbouring thickets. On the following day there was a royal hunt, with tables served at all the meeting-places. There was fishing in the lake, from which the net brought in enormous fish; there was a play, then a ball, and finally fireworks; not to mention the sumptuous and delicate fare; the exquisite wines and delicious liqueurs which were provided on the same scale of unlimited extravagance.
On the first day Louis, whilst admiring the gardens and park from his window, had remarked on its beauty, but said that the view would be still more lovely if it were not shut in by a wood of tall trees that he pointed out. Next morning Fouquet drew the king to the same window and led the conversation in such a way that Louis might repeat the remark he had made the evening before.
“Sire, since that wood has the misfortune to displease you, it shall fall immediately.”
Then at a given signal the forest disappeared with a crash as if by magic, and the royal eye could see to the horizon. Sawn through during the night and attached to ropes that a hidden army of peasants pulled all at the same time, the trees fell at the voice of command.
All this magnificence and extravagance astonished the courtiers, but served also to arouse considerable suspicion. The king’s brother remarked that the name of the castle should rather be Vol-le-Roi than Vaux-le-Vicomte. This fête, an act of homage, as imprudent as it was ambitious, hastened the downfall of its author, and from that very day his doom was assured.
Among the many ballets in which Louis XIV himself took part, the more notable were “Le Triomphe de Bacchus,” “Le Temps,” “Les Plaisirs,” “L’Amour Malade,” “Alcibiade,” “La Raillerie,” “L’Impatience,” “Vincennes,” and “Les Amours Déguisés,” as well as some of the comédie-ballets of Molière.