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Another Random Scribd Document
with Unrelated Content
In 1643, the queen, Anne of Austria, wishing to make some
recognition for the splendid victories won by the Duc d'Enghien (the
future "Grand Condé") gave Chantilly back to his mother, Charlotte
de Montmorency. The latter, married at fifteen, had been obliged to
leave France with her young husband in 1609, to escape from the
attentions of Henri IV., still gallant despite his fifty-six years.

THE CASTLE IN THE SEVENTEENTH CENTURY

 FESTIVITIES AT CHANTILLY IN THE EIGHTEENTH
CENTURY.
A gay life began again in Chantilly, interrupted in 1650 by the revolt
of Condé, his exile and the confiscation of the domain, which then
returned to Louis XIV. until the Treaty of the Pyrénées (1659). The
prince then came into his own again but for long kept aloof from
public affairs and devoted himself to the embellishment of Chantilly
with the same ardour and mastery that he formerly gave to military
operations.
In 1662, the transformation of the park and forest was placed in the
hands of the great architect, Le Nôtre. The work continued until
1684. The result was a masterpiece, of which a great part is still in
existence, but of which the finest features (particularly the Great
Cascades which spread over the actual site of the town) disappeared
during the Revolution. Below, we give a view of these "Jeux d'eau"
(fountains), which were considered one of the wonders of the day.
In 1671, Louis XIV. spent three days at Chantilly, with all his court.
Marvellous festivities were held on this occasion. The guests of the
château alone filled sixty large tables; all the adjoining villages were
full of officers and courtiers, boarded and lodged at the prince's
expense. In one of her letters, Mme. de Sévigné tells of the tragic
death of the superintendent, Vatel, who had the responsibility of this
vast organisation. Desperate at the thought that fish would be
lacking at the king's table, he went up to his room, leant his sword
against the wall, and transfixed himself upon it.
All the great men of the seventeenth century visited Chantilly.
Bossuet, the intimate friend of the great Condé, presented to him
Fénelon and La Bruyère, who became tutor to the Prince of Condé's
grandson. Molière and his company came to play (Condé was his
patron, by whose intervention the production of Tartufe was
allowed). Boileau, Racine and La Fontaine were habitual guests.
The development of Chantilly continued under Condé's successors,
and the castle was modified by Mansart. The Duc de Bourbon

É
caused the "Grandes Écuries" to be built by Jean Aubert. He
established the manufacture of porcelain there (ceased in 1870), the
remaining pieces of which are greatly sought after in our day.

THE OLD CASCADES OF CHANTILLY

In 1722, Louis XV. stayed at Chantilly on his way back from his
coronation at Rheims. The festivities lasted four days; 60,000 bottles
of wine and 55,000 lbs. of meat being consumed.
It was Prince Louis-Joseph who saw the Revolution. He had spent
enormous sums in embellishing Chantilly, besides the twenty-five
million francs which it cost him to build the Palais-Bourbon in Paris,
the present seat of the Chamber of Deputies. He erected the Castle
of Enghien, named after his grandson, the Duc d'Enghien, who was
the first to inhabit it. (Early marriages were usual in these great
families: at the birth of the Duc d'Enghien his father was sixteen
years old and his grandfather thirty-six.) The Duc d'Enghien died in
1804, shot in the moat of Vincennes.
The English garden and the hamlet are due to Louis-Joseph.
In 1789, after the Prince of Condé had gone into exile, the Parisians
came and removed the cannon from the castle (see reproduction of
engraving below, in which the castle appears as altered by Mansart).
Thirty guns taken from the enemy during the Seven Years' War,
which were never used except for firing salutes during fêtes, were
brought in triumph to the Hôtel de Ville in Paris, whence La Fayette
had them sent to the arsenal.
The great cascades, the menagerie, the orangery and the theatre
disappeared during the revolutionary era.
Of the great castle nothing remained but the basement, whilst the
town grew and encroached on the park.
In 1814, the Prince de Condé returned to Chantilly and commenced
the restoration of the domain, a work continued by his son. The
latter came to a tragic end in 1830; he was found hanging from the
fastening of a window in his castle of Saint-Leu, and with him died
the great family of Condé.
In his will he bequeathed Chantilly to one of his great-nephews:
Henri of Orleans, Duc d'Aumale, fifth son of King Louis-Philippe.
After distinguishing himself in the Algerian campaign, where he
carried off the Smalah of Abd-el-Kader in 1843, the Duc d'Aumale
was exiled in 1848. He established himself at Orleans House, at
Twickenham, near London, where he remained until 1871. It was
during that time that he began the splendid collections which later
went to enrich the Condé Museum. On his return to France he
presided at the tribunal entrusted with the trial of Marshal Bazaine.
THE PARISIANS AT CHANTILLY IN 1789
 PICTURE GALLERY WHERE THE GERMANS SLEPT (1914)
In order to house his collections, the Duc d'Aumale had the big
castle rebuilt, on plans made by the architect Daumet, from 1875 to
1882.
He died in 1897, bequeathing to the "Institut de France" the domain
of Chantilly and the Condé Museum, of which he was the founder.

The Castle in 1914

About 500 Germans stayed at the castle for twenty-four hours.

These reserve troops had not yet fought and did not take part in the
battle. They committed no excesses during their short stay. The
great moral firmness shown by the curators, Messrs. Élie Berger and
Macon had great influence on the conduct of the German soldiers.
The troops were lodged in the big castle, whilst the officers
established themselves in the various suites of the small castle.
 PICTURE GALLERY (1917)
The curators had sent the gems of the collection to Paris and
sheltered as many of the works of art as possible in the basement.
This proceeding caused some ill humour on the part of the German
officer in command. As seen in the photograph (page 28) straw was
spread in the rooms of the museum, on which the Germans slept. At
the end of the room Chapu's touching Jeanne d'Arc overlooks the
scene of desolation. The Germans were much impressed by the copy
of the Duc d'Aumale's tomb in the museum, where he is represented
in the uniform of a divisional general. Many gave the military salute
when crossing the room. However, this did not prevent the
commandant from warning the curators that if his troops were fired
on, the castle would be burnt and they themselves shot.

Sylvie's House

If the tourist makes this journey on a day when the castle is closed,
or if he has not time to visit it, he will at least be able to glance at
the charming corner of the park where stands Sylvie's House. He
need only take the path of Avilly (it is the road which is on the right
of the main entrance) and skirt the park railings. After five minutes'
walk he will reach the place from where the view below is taken. He
can return to the gates by the same road.
This little shooting lodge, at first called the "Park House," was built
in 1604 by the high constable Henri de Montmorency for King Henri
IV.
Sylvie is the poetical name given by Théophile de Viau to his
patroness Marie-Félicie Orsini, who in 1612, at the age of fourteen,
married Henri II. of Montmorency, aged sixteen. The poet, Théophile
de Viau, persecuted in 1623 for the licentious publication of the
Parnasse Satirique, was given shelter at Chantilly and lodged in the
Park House.
Condemned to be burnt alive, he was only executed in effigy
through the intervention of the Montmorencys.
In his Odes to the House of Sylvie, he extolled the grace and
goodness of the young duchess:

Mes vers promettent à Sylvie

Ce bruit charmeur que les neveux
Nomment une seconde vie....

The wish expressed by the poet in these lines was fulfilled and the
name of Sylvie became attached to the house and park surrounding
it. The great Condé rebuilt the house as it is to-day. (The rotunda
seen in the photograph, page 29, was added by the Duc d'Aumale.)
 SYLVIE'S HOUSE AND THE PARK
In the eighteenth century Sylvie's House was the scene of the
romance of Mlle. de Clermont and Louis de Melun. The head of the
house of Montmorency objected to the marriage of his sister, Mlle.
de Clermont, with this nobleman, whose rank he considered
insufficient. The young girl disregarded this and made a secret
marriage, soon ended by the tragic death of Louis de Melun, who
was killed by a stag at bay in the course of a hunt in Sylvie's park.
These various episodes in the history of Sylvie's House are recalled
in the paintings of Luc-Olivier Merson, installed by the Duc d'Aumale
when he turned the old house into a museum.

Visit to the Castle

The Castle, Sylvie's House, the Jeu de Paume, and the "Grandes-Écuries"
are open to the public from April 15 to October 14:
1, On Sundays, Thursdays and legal holidays, from 1 to 5 p.m., free;
2, On Saturdays, the same hours, one franc charged for each visitor.
The Park is open to the public all the year round on Thursdays,
Sundays and holidays: from 1 to 6 p.m., from April 15 to October 14,
and till 4 p.m. for the rest of the year.
The Condé Museum is extremely interesting.
We advise tourists to obtain the guide book sold at the entrance,
which gives all useful information for the details of the visit. The plan
(p. 31) makes it easy to find one's way about the museum. By
following the numbering in this plan the various rooms will be seen
in the order in which they are marked in the guide book.
The several photographs which follow can give but a faint idea of the
richness and interest of the collections made by the Duc d'Aumale.
The following view shows the Gallery of the Stags, formerly the
dining room.
The picture on page 32 represents the magnificent carved and inlaid
chest (the work of Riesener, the great cabinet-maker), which stands
in room 24 (plan p. 31).
The Duc d'Aumale gathered the gems of his collection together in
the room that he named the Santuario (No. 19 on plan, p. 31).
 GALLERY OF THE STAGS
They are: The Virgin by Raphael, described as "of the House of
Orleans," having belonged to that family for a very long time. This
little panel, painted about the year 1506, was bought for 160,000
francs in 1869. It is reproduced on p. 32.
The Three Graces, another small panel painted by Raphael at about
the same time as The Virgin, was bought for 625,000 francs in 1885.
Esther and Ahasuerus, panel of a marriage chest, executed by Filippino
Lippi, was bought for 85,000 francs in 1892.
Forty Miniatures by Jehan Fouquet, taken from the Book of Hours, by
Estienne Chevalier: this leading work of the French school of the
fifteenth century was acquired for the sum of 250,000 francs in
1891.
 1. Entrance.
2. Grand Vestibule.
3. Gallery of the Stags.
4. Picture Gallery.
5. Rotunda of the Museum (Senlis Tower).
6. Vestibule of the Museum.
7. Gallery of the House.
8. Small Gallery of the House.
9. Vestibule of House.
10. The Smalah.
11. The Minerva Tower (Tower of the High
Constable).
12. The Antiquity Room.
13. Giotto Room.
14. Isabelle Room.
15. Orleans Room.
16. Caroline Room.
17. Clouet Room.
18. Psyche's Gallery.
19. Santuario.
20. Treasure Tower.
21. The Tribune.
22. The Anteroom.
23. Guardroom.
24. La Chambre.
25. The Great Study.
26. The Monkey Parlour.
27. The Prince's Gallery.
28. Library.
29. Great Staircase.
30. Gallery of the Chapel.
31. Chapel.

A. Statue of the High Constable.

B. Entrance (portcullis).
C. Court of Honour.
D. Court of the Little Castle.
E. Flower Garden of the Aviary.
 CHEST BY RIESENER
We must also mention the collection of portraits painted or drawn in
the fifteenth and sixteenth centuries, divided between the Gallery of
the House (7 on plan), the Clouet room (17 on plan) and the Gallery
of Psyche (18 on plan). In the Gallery of Psyche, the visitor will
notice, besides the pictures, the forty-four sixteenth century
windows, representing the legend of Cupid and Psyche. There is also
a cast of the head of Henri IV.
Lovers of jewels should visit the treasure tower (20 on plan). Tn the
Monkey Parlour (26 on plan) will be seen the screen painted by
Huet, representing the Monkey's reading lesson, and on the panels a
charming eighteenth century decoration, attributed to the same
painter.
In the Prince's Gallery (27 on plan) the great Condé had a series of
pictures painted representing the battles he had fought.
In the trophy containing his sword and pistols there is also a flag
taken in the Battle of Rocroi in 1643. It is the oldest standard
captured from the enemy that exists in France.
In the middle of the gallery stands the Table of the Vinestock, carved
out of one piece taken from an enormous vine, for the Connétable
de Montmorency.

THE VIRGIN OF ORLÉANS BY RAPHAEL

In the modern chapel (31 on plan), the Duc d'Aumale placed a
beautiful altar, carved by Jean Goujon, also some sixteenth century
wainscoting and stained glass windows taken from the chapel of the
Castle of Ecouen.
In the apse stands the funeral urn which holds the hearts of the
princes of the House of Condé.

Visit to the Park

This takes from three-quarters of an hour to an hour and a quarter.

On coming out of the museum we cross the Terrasse du Connétable,
in the middle of which stands the equestrian statue of Anne de
Montmorency, by Paul Dubois (1886). Leaving the Château
d'Enghien on the right we enter the covered way by the avenue
which passes before the little chapel of Saint-Paul. Saint-Paul and
Sainte-Croix are all that remain of the seven chapels erected by
Anne de Montmorency (see p. 23). A little further on, on the left, we
come to the Cabotière, a building dating from the time of Louis XIII.
It derives its name from that of the barrister Caboud, an enthusiastic
amateur horticulturist, who made a magnificent flower garden in the
park for the great Condé.
The avenue ends at Sylvie's House (see p. 29). In the interior can
be seen paintings, tapestries, pieces of furniture, and beautiful
panelling of the seventeenth century, which have been placed in the
rotunda. From Sylvie's House there is a lovely view of the pond and
park (see p. 29).
Leaving Sylvie's House on the right we walk about 150 yards down
the path which skirts it, then turn to the left and follow the path
which leads straight to the Hamlet (view on p. 35).
The Hamlet, which recalls that of the Petit Trianon at Versailles,
dates from 1775. At this period, under the influence of J. J.
Rousseau's works, nature and country life became the fashion, and it
was the correct thing for princes to play at peasants in miniature
villages.
 PLAN OF PARK
An author of the eighteenth century thus describes the Hamlet of
Chantilly: "Seven detached houses, placed without order, with
thatched roofs, stand in the middle of a lawn that is always green.
Here is an ancient elm, there a well; further on a fence encloses a
garden planted with vegetables and fruit-trees; a mill, its wheel
turned by the brook; in front a stable, a dairy; one house is used as
the kitchen, another is the dining-room, so decorated as to resemble
a hunting lodge. One fancies one's self in the middle of a thick
wood, the seats imitate tree-trunks, green couches and clusters of
flowers rise from the ground; a few openings made between the
branches of the trees admit the light. A third cottage serves as
billiard-room, a fourth is a library. The barn makes a large and
splendid drawing-room."
 THE CASTLE SEEN FROM THE FLOWER GARDENS
From the time when the hamlet came into being, there was never a
big fête at Chantilly without a supper in this pretty corner of the
park. Innumerable pots de feu illuminated the thickets; on the canal
the guests drifted in gondolas to strains of dreamy music; fancy-
dress fêtes were held, and the singing and dancing continued until
dawn.
The hamlet is now greatly fallen into decay, nevertheless, it is worth
a visit.
Retracing our steps we bear to the left and, having crossed, the first
bridge, follow a pretty path which brings us into the flower garden of
Le Nôtre, where we get a good view of the castle (photograph
above). One can go straight back to the entrance gates by the
staircase shown in the view. It is called the Grand Degré (great stair),
and was built in 1682 by the architect Gitard. The groups which
adorn the base of the Terrasse du Connétable, on each side of the
stairs, were drawn by Le Nôtre and carved by Hardy.
This walk, from the time of leaving the museum until the return to
the entrance gates, takes about three-quarters of an hour.
If one wishes to visit the English Garden and the Jeu de Paume, which
will take about forty minutes longer, one must walk past the north
front of the castle and follow the walk which opens in the middle of
the thickets.
The English Garden was laid out in 1817 to 1819 by the architect
Victor Dubois, according to the orders of the last of the Condés, just
returned from exile. The site occupied by this garden, like the
ground on which stands the town of Chantilly, belonged to the
ancient park, devastated during the Revolution.
We pass near the Temple of Venus, which shelters a Venus Callipyge
of the seventeenth century, near the Island of Love, dating from 1765
and on which are statues of Aphrodite and Eros. In the eighteenth
century the Island of Love contained a luxurious pavilion, in which
nocturnal fêtes were held, the canals and park being illuminated.
The pavilion disappeared at the time of the Revolution.

THE HAMLET
The ancient Cascades of Beauvais that one sees before arriving at the
Jen de Paume are remnants of the old park. They were the work of
Le Nôtre.
The Jeu de Paume, constructed in 1757, is transformed into a
museum. It contains various curiosities, notably Abd-el-Kader's tent,
carried away when the Smalah was captured by the Duc d'Aumale in
1843.
After 3 p.m. one can leave the park by the gate next to the Jeu de
Paume. We come out in front of the "Grandes Écuries" of the castle
and can go in and look round them. (Enter at the side that faces the
lawn.)

(Cliché André Schelcher.)

GENERAL VIEW OF THE CASTLE

FROM CHANTILLY TO SENLIS

(9 km.)
 THE CASTLE SEEN FROM THE ROUTE DE VINEUIL
Returning through the monumental gateway, we cross the Rue de
Connétable and go straight on, skirting the castle park on the right.
We cross the Saint-Jean Canal, then the Great Canal, then turn to
the right into the High Street of Vineuil. On the right one soon has a
beautiful vista of the castle and park (view above).
We now go through Saint-Firmin. The church, on the left, contains in
its choir Renaissance windows which are classed as historical
monuments.
From Saint-Firmin to Senlis the road is easy. We enter Senlis by the
Creil Gate (see plan inserted between pp. 36-37). Turn to the left by
the Avenue Vernois and the line of boulevards to reach the station,
where starts the itinerary described further on, in Senlis.
 GENERAL VIEW OF SENLIS

SENLIS

ORIGIN AND CHIEF HISTORICAL EVENTS

Senlis is of Gallic origin: it was the capital of the Sylvanectes. The
Romans surrounded it with fortifications, a great part of which still
exist (see view below).
The first kings of France, attracted by the hunting in the surrounding
country, frequently stayed at Senlis.
It was in Senlis Castle (see p. 61) that Hugues Capet was elected
king by the assembly of lords in 987.
The Capetians often returned to the birthplace of their dynasty and
it is to them that the town owes its chief buildings.
Taken by the peasants in the war of the Jacquerie in 1358, besieged
by the Armagnacs in 1418, it fell into the hands of the English and
was delivered by Joan of Arc in 1429. Senlis knew great vicissitudes
in the fourteenth and sixteenth centuries.
After Henri IV., who interested himself greatly in Senlis and lived in
its old castle, the kings of France gradually forsook the town in
favour of Compiègne, Fontainebleau and Versailles.
Occupied in 1871 by the Germans, it reappears in history in
September 1914. The burning of the town and the summary
executions which took place there will be recalled in the course of
the visit (pp. 38-52).
SENLIS IN THE SIXTEENTH CENTURY.

VISIT TO THE TOWN

(See plan inserted between pp. 36/37)

 THE BURNT STATION
(Sept. 1914)
At the Station one gets one's first view of the havoc done to the
town by the events of September 1914. It was set on fire on the
3rd.
Follow the station road (Avenue de la Gare), which leads to the
Compiègne Gate.
This is the road by which the Germans entered Senlis on September
2, at about 3 o'clock in the afternoon.
BRITISH SOLDIERS IN THE PLACE DE LA GARE
(Sept. 1914)

INTERIOR OF THE BURNT STATION

(Sept. 1914)
Whilst one part of the advance guard made the tour of the town,
following the boulevards and the ramparts which encircle it, other
groups descended directly south by the two main streets which cross
Senlis, thus making sure of a thorough exploration.

ENTRANCE TO THE RUE DE LA RÉPUBLIQUE BEFORE THE

WAR
The entrance lo the Rue de la République suffered a great deal, as is
shown by the two photographs, taken before and after the fire of
September 2, 1914.
 PRISONERS IN FRONT OF THE GENDARMERIE
(Sept. 1914)
On the left, the toll-house is completely burnt down; in the centre,
the Hôtel du Nord and the Restaurant Encausse are in ruins.
The building on the right is the Gendarmerie.
The German prisoners who appear in the picture opposite are
leaning against the wall of these barracks.
They were the few soldiers who, remaining in Senlis after the victory
of the Ourcq, were captured by Zouaves sent from Paris in motor-
cars.
Only a few years ago the Rue de la République was called the Rue
Neuve-de-Paris, although it dated from 1753. It was made in order
to spare the Court of Louis XV. the circuitous way and steep ascent
of the old road, which followed the Rue Vieille-de-Paris and the Rue
du Châtel.
ENTRANCE TO THE RUE DE LA RÉPUBLIQUE AFTER THE
FIRE
 GERMAN CYCLIST AT THE ENTRANCE TO THE RUE BELLOY
(1914)
Descending the Rue de la République we come to the Rue Bellon,
which crosses it. We turn to the right, at the place shown on the
opposite photograph, and a few steps further on, reach the
Carrefour de la Licorne. This is one of the most devastated places of
the town. The first view was taken during the German occupation, a
German cyclist being snapshotted while riding. The other views show
the state of the ruins in 1914 and the present condition.

RUE ROUGEMAILLE (1914)

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