all the vigor of their brawny arms, into her bed. Unfortunately, Maria had escaped. Happy would it have been for the ill-fated queen had she died in that short agony. But she was reserved for a fate perhaps more dreadful than has ever befallen any other daughter of our race.
Poor Maria! fancy can not create so wild a dream of terror as was realized in her sad life. The annals of the world contain not another tragedy so mournful.
Every room we enter has its tale to tell. Providence deals strangely in compensations. The kings of France robbed the nation to rear for themselves these gorgeous palaces. And yet the poor unlettered peasant in his hut, was a stranger to those woes, which have ever held high carnival within these gilded walls. Few must have been the hours of happiness which have been found in the Palace of Versailles. The paintings which adorn the saloons and galleries of this princely abode, are executed in the highest style of ancient and modern art. One is never weary of gazing upon them. Many of them leave an impression upon the mind which a lifetime can not obliterate. All the great events of France are here chronicled in that universal language which all nations can alike understand. David's magnificent painting of the Coronation of Napoleon attracts the special attention of every visitor. The artist has seized upon the moment when the Emperor is placing the crown upon the brow of Josephine. When the colossal work was finished, many criticisms were passed upon the composition, which met the Emperor's ear. Among other things, it was specially objected that it was not a picture of the coronation of Napoleon but of that of Josephine. When the great work was entirely completed, Napoleon appointed a day to inspect it in person, prior to its public exhibition. To confer honor upon the distinguished artist, he went in state, attended by a detachment of horse and a military band, accompanied by the Empress Josephine, the princes and princesses of the family, and the great officers of the crown.
Napoleon for a few moments contemplated the painting in thoughtful silence, and then, turning to the artist, said, "M. David, this is well – very well, indeed. The empress, my mother, the emperor, all are most appropriately placed. You have made me a French knight, and I am gratified that you have thus transmitted to future ages the proofs of affection I was desirous of testifying toward the empress." Josephine was at the time standing at his side, leaning upon his right arm. M. David stood at his left. After contemplating the picture again for a few moments in silence, he dropped the arm of the empress, advanced two steps, and turning to the painter, uncovered his head, and bowing to him profoundly, exclaimed, "M. David, I salute you!"
"Sire!" replied the painter, with admirable tact, "I receive the compliment of the emperor, in the name of all the artists in the empire, happy in being the individual one you deign to make the channel of such an honor."
When this painting was afterward removed to the Museum, the emperor wished to see it a second time. M. David, in consequence, attended in the hall of the Louvre, accompanied by all of his pupils. Napoleon on this occasion inquired of the illustrious painter who of his pupils had distinguished themselves in their art. Napoleon immediately conferred upon those young men the decoration of the Legion of Honor. He then said, "It is requisite that I should testify my satisfaction to the master of so many distinguished artists; therefore I promote you to be Officer of the Legion of Honor. M. Duroc, give a golden decoration to M. David." "Sire, I have none with me," answered the Grand Marshal. "No matter," replied the Emperor; "do not let this day pass without executing my order."
The King of Wirtemberg, himself quite an artist, visited the painting, and exceedingly admired it. As he contemplated the glow of light which irradiated the person of the Pope, he exclaimed, "I did not believe that your art could effect such wonders. White and black, in painting, afford but very weak resources. When you produced this you had no doubt a sunbeam upon your pencil!"
But we must no longer linger here. And yet how can we hurry along through the midst of this profusion of splendor and of beauty. Room after room opens before us, in endless succession, and the mind is bewildered with the opulence of art. In each room you wish to stop for hours, and yet you can stop but moments, for there are hundreds of these gorgeous saloons to pass through, and the gardens and the parks to be visited, the fountains and the groves, the rural palaces of the Great Trianon and the Little Trianon, and above all the Swiss village. The Historical Museum consists of a suite of eleven magnificent apartments, filled with the most costly paintings illustrating the principal events in the history of France up to the period of the revolution. You then enter a gallery, three hundred feet in length, filled with the busts, statues, and monumental effigies of the kings, queens, and illustrious personages of France. The Hall of the Crusades consists of a series of five splendid saloons in the Gothic style, filled with pictures relating to that strange period of the history of the world. But there seems to be no end to the artistic wonders here accumulated. The Grand Gallery of Battles is a room 393 feet in length, 43 in breadth, and the same in height. The vaulted ceiling is emblazoned with gold, and the walls are brilliant with the most costly productions of the pencil. One vast gallery contains more than three hundred colossal pictures, illustrating the military history of Napoleon. In one of the apartments, on the ground floor, are seen two superb carriages. One is that in which Charles X. rode to his coronation. It was built for that occasion, at an expense of one hundred thousand dollars. The resources of wealth and art were exhausted in the construction of this voluptuous and magnificent vehicle. The other was built expressly for the christening of the infant Duke of Bordeaux.
But let us enter the stables, for they also are palaces. The nobles of other lands have hardly been as sumptuously housed as were the horses of the kings of France. The Palace of Versailles is approached from the town by three grand avenues – the central one 800 feet broad. These avenues open into a large space called the Place of Arms. Flanking the main avenue, and facing the palace, were placed the Grand Stables, inclosed by handsome iron railings and lofty gate-ways, and ornamented with trophies and sculptures. These stables were appropriated to the carriages and the horses of the royal family. Here the king kept his stud of 1000 of the most magnificent steeds the empire could furnish. It must have been a brilliant spectacle, in the gala days of Versailles, when lords and ladies, glittering in purple and gold, thronged these saloons, and mounted on horses and shouting in chariots, with waving plumes, and robes like banners fluttering in the air, swept as a vision of enchantment through the Eden-like drives which boundless opulence and the most highly cultivated taste had opened in the spacious parks of the palace. The poor peasant and pale artisan, whose toil supplied the means for this luxury, heard the shout, and saw the vision, and, ate their black bread, and looked upon the bare-footed daughter and the emaciate wife, and treasured up wrath. The fearful outrages of the French revolution, concentrated upon kings and nobles in the short space of a few years, were but the accumulated vengeance which had been gathering through ages of wrong and violence in the hearts of oppressed men. But those days of kingly grandeur have passed away from France forever. Versailles can never again be filled as it has been. It is no longer a regal palace. It is a museum of art, opened freely to all the people. No longer will the blooded Arabians of a proud monarch fill those stables. One has already been converted into cavalry barracks, and the other into an agricultural school. It is to be hoped that the soldiers will soon follow the horses, and that the sciences of peace will eject those of war.
What tongue can tell the heart-crushing dramas of real life which have been enacted in this palace. Its history is full of the revealings of the agonies of the soul. Love, in all its delirium of passion, of hopelessness, of jealousy, and of remorse, has here rioted, causing the virtuous to fall and weep tears of blood, the vicious to become demoniac in reckless self-abandonment. After years of soul-harrowing pleasure and sin, the Duchesse de la Vallière, with pallid cheek, and withered charms, and exhausted vivacity, retired from these sumptuous halls and from her heartless, selfish, discarding betrayer, to seek in the glooms of a convent that peace which the guilty love of a king could never confer upon her heart. For thirty years, clothed in sackcloth, she mourned and prayed, till the midnight tollings of the convent bell consigned her emaciate frame to the tomb.
Madame Montespan, a lady of noble rank, beautiful and brilliant, abandoning her husband, willingly threw herself into the arms of the proud, mean, self-worshiping monarch. The patient, gentle, pious, martyr wife of Louis XIV. looked silently on, and saw Madame Montespan become the mother of the children of the king. But Madame Montespan's cheek also, in time, became pale with jealousy and sorrow, as another love attracted the vagrant desires of the royal debauchee. He sent