The first place we visited was the manufactory of small arms; the resident workmen in which exceed two thousand men. Here we saw all the ingenious process of constructing the musket, pistol, and sabre, of which there are an immense collection; and also several carbines, and swords of honour, intended as presents from the first consul to officers and soldiers of distinguished merit.
From the manufactory of small arms, we returned to the grand court, and entered a suite of rooms, which contain the relics of the former valuable cabinet of curiosities. Several of those which we saw, were worthy of attention. From these rooms, we passed to the late king's private opera house, which surpasses in magnificence, and costly decoration, every thing of the kind I ever beheld. The facing of the whole of the inside is of carved wood, richly gilt. The dome is beautifully painted. Upon the scenery of the stage being removed, and temporary columns, and galleries raised; all of which can be effected in twenty-four hours, that part of the theatre presents a counterpart of the other, and the whole forms a most splendid oblong ball room, very deservedly considered to be the finest in Europe: it used to be illuminated by ten thousand wax lights. The concert rooms, and retiring apartments are also very beautiful. From the opera, we visited the chapel, which is very fine, and costly, in which there are many large, and valuable paintings. After leaving this deserted place of royal worship, we passed through the Halls of Plenty, Venus, Mars, Mercury, Apollo, and the Hall of the Billiard Table, finely painted by Houasse, le Brun, Champagne, and other eminent artists, to the grand gallery, which is seventy-two yards long, and fourteen broad, and has seventeen lofty windows on one side, which look into the gardens, and seventeen immense pier glasses on the opposite side to correspond. In this gallery, the kings of France were accustomed to receive ambassadors, and ministers of state.
We next entered the bedroom of the late queen and beheld the door, which, on the night of the 6th of October, 1789, the frantic, and sanguinary mob, headed by the infamous Legendre, burst open, for the purpose of dispatching her with daggers, in her bed, on that frightful night, which preceded the return of the royal family to Paris, under the protection of the marquis de la Fayette, through an enraged multitude, which extended itself from Versailles to Paris.
The miserable queen saved herself by escaping into an adjoining apartment. Her bed was pierced through and through with poignards. The door is nailed up, but the marks of that horrible outrage still remain. In this, and in the adjoining chambers, are some very beautiful and valuable paintings. I must not omit to mention, although the sentiment which it inspires is not very pleasant, the representation of the capture of an english frigate, by la Bayonne, a french corvette, after a desperate engagement, in which victory for once decided in favour of the enemy, who opposed, on this occasion, an inferior force. This is a picture of infinite merit, and possesses a novelty of arrangement, and strength of colouring, which I never saw equalled in any other naval representation. The subject seldom admits of much variety. The french, of course, are very much pleased with it. There are here also some curious old clocks.
It was in one of these apartments, that Prior, the celebrated poet, when secretary to the earl of Portland, who was appointed ambassador to the french court, in the year 1698, made the following memorable answer.
One of the french king's household was showing the bard the royal apartments and curiosities of this palace, and particularly pointed out to his notice, the paintings of le Brun, now removed to the museum of the arts, in which the victories of Lewis the XIVth are described, and asked him, whether the actions of king William were to be seen in his palace? No, sir, replied the loyal wit, "the monuments of my master's glory are to be seen every where but in his own house."
Through the interest of Monsieur S—— we were admitted into a private room below stairs, in which several portraits of the late royal family have been preserved from destruction, during the late revolution. That which represents the queen and her young family, is very fine, and displays all the bewitching beauty and vivacity of that lovely and unfortunate personage. Into this room no one was admitted with us. Here is a very curious piece of mechanism: it is a painting, containing two hundred little figures, in the act of enjoying the various pleasures of rural sport, which are separated from the back ground of the picture, and are set in motion by springs; and admirably imitate all the movements natural to their different occupations. A fisherman throws in his line, and draws up a little fish, a regular chase is displayed, and a nuptial procession appears, in which little figures, riding in tiny carriages, nod to the spectators. There are also many other curious figures. It is glazed and framed, and at a distance, when its motion has ceased, it has the appearance of a tolerably good painting. We next quitted the palace, and entered upon the grand terrace, from which it makes the finest appearance.
This enormous pile of building is here united by a centre, and corresponding wings, of great extent and magnificence.
From this elevated spot, the beholder contemplates the different waterworks, walks, and gardens, which cover several miles.
The orangery is a beautiful specimen of tuscan architecture, designed by le Maitre, and finished by Mansart. It is filled with lofty orange trees in full bearing; many of which, in their tubs, measure from twenty to thirty feet high. Amongst them is an orange tree which is upwards of four hundred years old. The cascades, fountains, and jets d'eau, are too numerous to admit of minute description. They are all very fine, and are supplied by prodigious engines across the Seine, at Marli, about three miles distant. The Trianon is a little marble palace, of much beauty, and embellished with the richest decoration.