To Francis I., rightly or wrongly, is given the glory of having naturalized in France the arts of Italy; to him is due the architecture built for ease and charm which turned the fortress into a beautiful habitation, which changed Chambord from a feudal stronghold to a country seat, and which left its traces at Amboise, as it did at Chaumont and at Blois. He found in France the highest and most beautiful expression of the work of "the great unnamed race of master-masons," he found the traditions of a national school of painting, the work of Fouquet and the Clouets, but for these he cared not; for him the only schools were those of Rome and Florence, and tho by encouraging their imitation he weakened the vital sincerity of French art, yet from his first exercise of royal power the consistency always somewhat lacking in his politics was shown clearly and firmly in his taste for art.
BLOIS[A]
[Footnote A: From "Castles and Chateaux of Old Touraine." By special arrangement with, and by permission of, the publishers, L.C. Page & Co. Copyright, 1908.]
BY FRANCIS MILTOUN
Blois, among all the other cities of the Loire, is the favorite with the tourist. Here one first meets a great château of state; and certainly the Château de Blois lives in one's memory more than any other château in France.
Much has been written of Blois, its counts, its château, and its many and famous hôtels of the nobility, by writers of all opinions and abilities, from those old chroniclers who wrote of the plots and intrigues of other days to those critics of art and architecture who have discovered—or think they have discovered—that Da Vinci designed the famous spiral staircase.
From this one may well gather that Blois is the foremost château of all the Loire in popularity and theatrical effect. Truly this is so, but it is by no manner of means the most lovable; indeed, it is the least lovable of all that great galaxy which begins at Blois and ends at Nantes. It is a show-place and not much more, and partakes in every form and feature—as one sees it to-day—of the attributes of a museum, and such it really is.
All of its former gorgeousness is still there, and all the banalities of the later period when Gaston of Orleans built his ugly wing, for the "personally conducted" to marvel at, and honeymoon couples to envy. The French are quite fond of visiting this shrine themselves, but usually it is the young people and their mammas, and detached couples of American and English birth that one most sees strolling about the courts and apartments where formerly lords and ladies and cavaliers moved and plotted.
The great château of the Counts of Blois is built upon an inclined rock which rises above the roof-tops of the lower town quite in fairy-book fashion. Commonly referred to as the Château de Blois, it is really composed of four separate and distinct foundations; the original château of the counts; the later addition of Louis XII.; the palace of Francis I., and the most unsympathetically and dismally disposed pavilion of Gaston of Orleans.
The artistic qualities of the greater part of the distinct edifice which go to make up the château as it stands to-day are superb, with the exception of that great wing of Gaston's, before mentioned, which is as cold and unfeeling as the overrated palace at Versailles.