Part 8 (1/2)
It was a co: ”O! Tuileries!
O! Tuileries! Mad indeed are those who enter thy walls, for like Louis XVI, Napoleon, Charles X and Louis Philippe you shall in of the nanominiously traced from that of a tile factory which existed here in the heart of Paris, on the banks of the Seine, in the sixteenth century The property, which comprised a manor-house as well as the tile fields, was known by the name of La Sablonniere, and came to the Marquis Neuville de Villeroy, Superintendent of Finances, who built on the spot a sort of fortified chateau, which, if not of palatial diality of luxury
Louise de Savoie, mother of Francis I, acquired the property in 1518 and nine years later gave it to Jean Tiercelin, the Maitre d'Hotel of the dauphin, who later was to becoe, or manor-house, had, by 1564, fallen into so ruinous a state that Catherine de Medici, theof Henri II, set about to lay the foundations of a new royal palace
Catherine never resided in her projected palace, and in 1566 Charles IX, her son, gave the co upon the Louvre, but not to be connected therewith, on the site of the Tuileries”
On July 11, as begun, and the central pavilion and the two extremes were carried up two stories within a year The central structure was a great circular-do a marvellous Escalier d'Honneur The facade, preceded by two terraced porticos, was on the courtyard, or garden, between the edifice and the Louvre It sat back to the present Rue des Tuileries
The Tuileries did not become a royal residence for so tenaciously to his well-guarded apartments in the Louvre; for the central structure of the Tuileries, because of its lack of cohold as he would have liked
A contemporary note in connection with Charles IX and the Tuileries is found in Ronsard's ”_epitre a Charles IX_”
”J'ay veu trop de macons Bastir les Tuileries, Et en trop de facons Faire les momeries”
Work on the edifice so auspiciously planned by Delorn of Henri III, owing to lack of funds
The Renaissance of Delor of the Tuileries, expressed certain characteristic phases of architectural art in the reigns of Francis I and Henri II The reign of Charles IX was only another phase of that long reign of Catherine de Medici, and architectural influences continued to follow along the same reminiscent Italian lines, particularly with reference to such edifices as the Medici herself caused to be built In the dedication of Philibert Delorme's ”_Traite d'Architecture_” he expressed hiard to the Tuileries:
”Mada pleasure the interest that your Majesty takes in architecture The palace which you have built at Paris near the Pont Neuf and the Louvre is, according to its disposition, excellent and admirable to the extent that it pleases es were made and successfully carried out under the architects Ducerceau, Duperac, Levau and Dorbay
A distinct feature of the work of Delorth, which, as he says in his written works, he first employed in the ”_Palais de la Majeste de la Royne-Mere a Paris_”
Of the ability of Delorme there is no diversity of opinion to-day, nor was there in his time Besides the Tuileries he has to his credit the Chateau d'Anet, the Chateau de Saint Maur, that of Meudon--built for the Cardinal de Lorraine,--and his important additions to the Chateau de la Muette and the Chateaux of Saint Gerht be supposed Catherine de Medici professed a great admiration for Delorenerosity, even no him as Abbe of the Convent of Saint Eloi de Noyon, a fact which caused the poet Ronsard to evolve a political satire: ”La Truelle Crossee”
At the sa the Tuileries Catherine de Medici caused additions to be made to the Louvre; at least she undertook the completion of the unfinished portion, which had been left for other hands to do
The first historic souvenir which stands out proiven four days before the fateful Saint Bartholoallant Henri de Bearn, King of Navarre, and the wise and witty Marguerite de Valois
Henri IV, co to the throne a quarter of a century after the admirable first year's work on the Tuileries had been co it a really habitable place It had been hurriedly finished off to the second story, and had served well enough for a temporary residence, or as an overflow establish, but to the a would do but that the pavilions should be bound together with a ature, and that the Pavillon de Flore should in turn be linked up with the Louvre by a gallery
Under Louis XIII this latter really ca to the plans of the architect Ducerceau, but the inspiration ofthe Louvre and the Tuileries one was due to Henri IV
Under Louis XIV and Louis XV the palace in its still attenuated for any of the noble apartments hich it was afterwards endowed The court at this time practically made Versailles its headquarters Neither of the above-ht but cursory visits to the Tuileries and left its occupancy to officers of the household and n of Louis XV that the Florentine artist, Servandoni, as at the same time an eminent architect, a reanized in the Palais des Tuileries the Theatre des Machines, the first installed at Paris, and there came the Comedie Francaise, the Opera and the Bouffes (the _Coave command performances before the court
When the French resolved that Louis XVI should live in Paris, the Palais des Tuileries was actually offered him, but it was a rather shabby place of royal residence so far as its interior appoint when viewed from without Considerable repairs and e factions did ress
With the advent of Louis XVI there caayety and freedom from care in royal hearts and heads On October 5 Louis XVI and the royal fa up its sittings under the sa an act which allowed the conon at an expense of three hundred thousand _livres_ An ally well spent, and the structure now first took its proper place a the monumental art treasures of the capital
A draate of the Tuileries, which faced the courtyard, when, on May 28, 1795, the populace surged in waves against its sturdy barrier The Deputy Feraud met them at the steps
”You may enter only over my dead body,” he said No reply was made but to crack his skull, behead the trunk and carry the head aloft on a pike to the very Tribune where Boissy d'Anglas was presiding