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1666 Bussy got back to his native land and was again heard of by boiling over once more with similar indiscretions at Chazeu, near Autun. Finally he got home to the chateau and there remained for sixteen consecutive years, not a recluse exactly, and yet not daring to show his head at Paris. It was a long time before he again regained favour in royal circles.

      The Cour d’Honneur of the chateau is reached by a monumental portal which traverses the middle of the corps du logis. Above this are two marble busts, one of Sainte-Jeanne-de-Chantal, which came originally from the Couvent de Visitation at Dijon, and the other of Colbert, the minister of Louis XIV.

      The ancient Salle des Devises (now the modern billiard room) has a very beautiful pavement of hexagonal tiles, and a series of allegorical devises which Bussy had painted in 1667 by way of reproach to one of his feminine admirers. On other panels are painted various reproductions of royal chateaux and a portrait of Bussy with his emblazoned arms.

      The Salon des Grands Hommes de Guerre, on the second floor, is well explained by its name. Its decorations are chiefly interlaced monograms of Bussy and the Marquise Monglat, setting off sixty odd portraits of famous French warriors, from Duguesclin and Dunois to Bussy himself, who, though more wielder of the pen than the sword, chose to include himself in the collection. Some of these are originals, contemporary with the period of their subjects; others are manifestly modern copies and mediocre at that, though the array of effigies is undeniably imposing.

      The Chambre Sévigné, as one infers, is consecrated to the memory of the most famous letter writer of her time. For ornamentation it has twenty-six portraits, one or more being by Mignard, while that of “La Grande Mademoiselle,” who became the Duchesse de Berry, is by Coypel.

      Below a portrait of Madame de Sévigné, Bussy caused to be inscribed the following: “Marie de Rabutin: vive agreable et sage, fille de Celse Béninge de Rabutin et Marie de Coulanges et femme de Henri de Sévigné.” This, one may be justified in thinking, is quite a biography in brief, the sort of a description one might expect to find in a seventeenth century “Who’s Who.”

      Beneath the portrait of her daughter – Comtesse de Grignan – the inscription reads thus: “Françoise de Sévigné; jolie, amiable, enfin marchant sur les pas de sa mere sur le chapitre des agreements, fille de Henri de Sévigné et de Marie de Rabutin et femme du Comte de Grignan.” A rather more extended biography than the former, but condensed withal.

      Another neighbouring room is known as the Petite Chambre Sévigné, and contains some admirable sculptures and paintings.

      Leading to the famous Tour Dorée is a long gallery furnished after the style of the time of Henri II, whilst a great circular room in the tower itself is richly decorated and furnished, including two faisceaux of six standards, each bearing the Bussy colours.

      Legend and fable have furnished the motive of the frescoes of this curious apartment, and under one of them, “Céphale et Procris,” in which one recognizes the features of Bussy and the Marquise, his particular friend, are the following lines:

      “Eprouver si sa femme a le cœur précieux,

      C’est être impertinent autant que curieux:

      Un peu d’obscurité vaut, en cette matière,

      Mille fois mieux que la lumière.”

      Not logical, you say, and unprincipled. Just that! But as a documentary expression of the life of the times it is probably genuine.

      Here and elsewhere on the walls of the chateau are many really worthy works of art, portraits by Mignard, Lebrun, Just, and others, including still another elaborate series of fourteen, representing Richelieu, Louis XIII, Anne d’Autriche, Mazarin, Louis XIV. Again in the plafond of the great tower are other frescoes representing the “Petits Amours” of the time, always with the interlaced cyphers of Bussy and Madame la Comtesse.

      From the Chambre Sévigné a gallery leads to the tribune of the chapel. Here is a portrait gallery of the kings of the third race, of the parents of Bussy, and of the four Burgundian dukes and duchesses of the race of Valois. The chapel itself is formed of a part of the Tour Ronde where are two canvasses of Poussin, a Murillo and one of Andrea del Sarto.

      The gardens and Park of the chateau are attributed to Le Notre, the garden-maker of Versailles. This may or may not be so, the assertion is advanced cautiously, because the claim has so often falsely been made of other chateau properties. The gardens here, however, were certainly conceived after Le Notre’s magnificent manner. There is a great ornamental water environing the chateau some sixty metres in length and twelve metres in width, and this of itself is enough to give great distinction to any garden-plot.

      CHAPTER VI

      “CHASTILLON AU NOBLE DUC” (The War Cry of the Bourguignons)

      THE importance of the ancient Chastillon on the banks of the Seine was entirely due to the prominence given to it by the Burgundian dukes of the first race who made it their preferred habitation.

      The place was the ancient capital of the Bailliage de la Montague, the rampart and keep to the Burgundian frontier from the tenth to the fifteenth century.

      The origin of the Chateau des Ducs is blanketed in the night of time. Savants, even, can not agree as to the date of its commencement. One says that it and its name were derived from Castico, a rich Sequanais; and another that it comes from Castell, an enclosed place; or from Castellio – a small fortress. Each seems plausible in the absence of anything more definite, though according to the castle’s latest historian it owes its actual inception to the occupation of the Romans who did build a castrum here in their time.

      During the pourparlers between Henri IV and the League, the inhabitants of the city demanded of Nicolas de Gellan, governor of the place, the giving up of the castle which had for years been the cause of so much misery and misfortune. The place had been the culminative point of the attacks of centuries of warriors, and the inhabitants believed that they had so suffered that it was time to cry quits.

      When the surrender, or the turning over, of the castle took place, all the population, including women and children, marched en masse upon the structure, and wall by wall and stone by stone dismantled it, leaving it in the condition one sees it to-day. A castle of sorts still exists, but it is a mere wraith of its former self. There is this much to say for it, however, and that is that its stern, grim walls which still stand remain as silent witnesses to the fact that it was not despoiled from without but demolished from within. Peace came soon after, and the people in submitting to the new régime would not hear of the rebuilding of the chateau, and so for three hundred years its battered walls and blank windows have stood the stresses of rigorous winters and broiling summers, a silent and conspicuous monument to the rights of the people.

      The majestic tower of the chateau, for something more than the mere outline of the ground-plan still exists, is bound to two others by a very considerable expanse of wall of the donjon, and by the courtines which formerly joined the bastions with the main structure.

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