PLAN of VERSAILLES
It is in vain to attempt a description of Versailles. The main palace contains five hundred rooms. We passed the long hours of a long day in rapidly passing through them. The mind becomes bewildered with the magnificence. Here is the chapel where an offended God was to be appeased by gilding his altar with gold, and where regal sinners cheaply purchased pardon for the past and indulgence for the future. It is one of the essentials of luxurious iniquity to be furnished with facile appliances to silence the reproaches of the soul; and nothing more effectually accomplishes this than a religion of mere ceremony. Upon this chapel Louis XIV. concentrated all the taste and grandeur of the age. It was an easy penance for a profligate life to expend millions, wrested from the toiling poor, to embellish an edifice consecrated to an insulted God. Before this gorgeous altar stood Maria Antoinette and Louis XVI., in consummation of that nuptial union which terminated in the most melancholy tragedy earth has ever known. The exquisite paintings, the rich carvings and gildings, the graceful spring of the arched ceiling, the statues of marble and bronze, the subdued light, which gently penetrates the apartment, through the stained glass, the organ in its tones so soft and rich and full, all conspire to awaken that luxury of poetic feeling which the human heart is so apt to mistake for the spirit of devotion—for love to God. "If ye love me, ye will keep my commandments."
But every spot in this sumptuous abode is so alive with the memories of other days, is so peopled with the spirits of the departed, that we linger and linger, as historical incidents of intensest interest crowd the mind.
LOUIS XIV.
"Voici la salle de l'Opéra," exclaims the guide, and he rattles off a voluble description, which falls upon your ear like the unintelligible moaning of the wind, as, lost in reverie, you recall to mind the scenes which have transpired in the theatre of Versailles. Sinking down upon the cushioned sofa, where Maria Antoinette often reclined in her days of bridal beauty and ambition, the vision of private theatricals rises before you. The deserted stage is again peopled. The nobles of the Bourbon court, in all the regalia of aristocratic pomp and pride, crowd the brilliant theatre, blazing with the illumination of ten thousand waxen lights. Maria, the queen of France, enacts a tragedy, little dreaming that she is soon to take a part in a real tragedy, the recital of which will bring tears into the eyes of all generations. Maria performs her part upon the stage with triumphant success. The courtiers fill the house with tumultuous applause. Her husband loves not to see his wife a play-actress. He hisses. The wife is deaf to every sound but that one piercing note of reproach. In the midst of resounding triumph she retires overwhelmed with sorrow and tears.
