Louis was born September 5, 1638, the belated first fruit of a marriage which had been barren for twenty-three years. The death of his father, Louis XIII, made the boy King of France at four. During his childhood, France was ruled by his mother, Anne of Austria, and her chief minister (who was perhaps also her lover), Cardinal Mazarin, the protege of and successor to the great Richelieu. When Louis was nine, France erupted into the limited revolution known as the Fronde. This humiliation scarred the boy King, and even before the death of Mazarin he was determined to be his own master, to allow no minister to dominate him as Richelieu had dominated his father and Mazarin his mother. Nor, for the rest of his life, did Louis ever willingly set foot in the narrow, turbulent streets of Paris.
Louis was always a country man. In the first years of his reign, he traveled with the court back and fourth between the great royal chateaux outside Paris, but kings of France, especially great kings, built their own palaces to reflect their personal glory. In 1668, Louis chose the site of his own palace, the land of his father's small hunting chateau at Versailles, twelve miles west of Paris. Here, on a sandy knoll rising only slightly above the rolling woodland of the He de France, the King ordered his architect, Le Vau, to build. For years, the work continued. Thirty-six thousand men labored on the scaffolding which surrounded the building or toiled in the mud and dust of the developing gardens, planting trees, laying drainpipes, erecting statues of marble and bronze. Six thousand horses dragged timbers or blocks of stone on carts and sledges. The mortality rate was high. Nightly, wagons carried away the dead who had fallen from a scaffolding or been crushed by the unexpected sliding of a heavy piece of stone. Malarial fever raged through the crude barracks of the workmen, killing dozens every week. In 1682, when the chateau was finally finished, Louis had built the greatest palace in the world. It had no ramparts:
Louis had built his seat undefended, in the open country, to demonstrate the power of a monarch who had no need of moats and walls to protect his person.
Behind a facade one fifth of a mile in length were enormous public galleries, council chambers, libraries, private apartments for the royal family, boudoirs and a private chapel, not to mention corridors, stairways, closets and kitchens. In decoration, Versailles has been said to represent the most conspicuous consumption of art and statuary since the days of the Roman empire. Throughout the palace, the high ceilings and great doors were emblazoned in gold with the mark of Apollo, the sign of the flaming sun, the symbol of the builder and occupant of this enormous palace. The walls were covered with patterned velvet, paneled in marble or hung with tapestries, the windows curtained with embroidered velvet in winter and flowered silk in summer. At night, thousands of candles flickered in hundreds of glass chandeliers and silver candelabra. The rooms were furnished with exquisite inlaid furniture—gilded tables whose legs were scrolled or decorated with flowers and leaves, and broad-backed chairs upholstered with velvet. In the private apartments, rich carpets were laid over inlaid floors and the walls were hung with huge paintings by Andrea del Sarto, Titian, Raphael, Rubens and Van Dyck. In Louis' bedroom hung the "Mona Lisa."
The gardens, designed by Le Notre, were as spectacular as the palace. Millions of flowers, bushes and trees were laid out with precise geometrical precision amidst grassy avenues, terraces, ramps and staircases, ponds, lakes, fountains and cascades. The fountains, with 1,500 jets of water spouting from octagonal lakes, became—and remain—the envy of the world. Tiny clipped hedges curved into ornate designs, separating flowers of every color and description, many of them changed daily. The King was especially fond of tulips, and every year (when he was not at war with Holland) four million tulip bulbs were imported from Dutch nurseries to turn Versailles flaming crimson and brilliant yellow in spring. The King's passion for orange trees led Le Notre to design a huge orangery, depressed below the open air so that the trees would be protected from the wind. Even this was not enough, and Louis brought some of his orange trees indoors and kept them by the windows of his private rooms, planted in silver tubs.
Standing at the tall windows of the Galeries des Glaces in the palace's western facade, the King could look down long prospects of grass, stone and water, adorned with sculpture, to the Grand Canal. This body of water, constructed in the shape of a huge cross, was more than a mile long. Here the King was taken to boat and sail. On summer evenings, the entire court boarded gondolas sent as a gift from the Doge of Venice, and spent hours floating and drifting beneath the stars while Lully and the court orchestra, on a raft nearby, filled the air with music.
Versailles became the symbol of the supremacy, wealth, power and majesty of the richest and most powerful prince in Europe. Everywhere on the continent, other princes recorded their friendship, their envy, their defiance of Louis by building palaces in emulation of his—even princes who were at war with France. Each of them wanted a Versailles of his own, and demanded that his architects and craftsmen create palaces, gardens, furniture, tapestries, carpets, silver, glass and porcelain in imitation of Louis' masterpiece. In Vienna, Potsdam, Dresden, at Hampton Court and later in St. Petersburg, buildings arose and were decorated under the stimulus of Versailles. Even the long avenues and stately boulevards of Washington, D.C., which was laid out over a century later, were geometrically designed by a French architect in imitation of Versailles.
Louis loved Versailles, and when distinguished visitors were present, the King personally conducted them through the palace and gardens. But the palace was much more than Europe's most gorgeous pleasure dome; it had a serious political purpose. The King's philosophy rested on total concentration of power in the hands of the monarch; Versailles became the instrument. The vast size of the palace made it possible for the King to summon and house there all the important nobility of France. Into Versailles, as if drawn by an enormous magnet, came all the great French dukes and princes; the rest of the country, where the heads of these ancient houses had hands, heritage, power and responsibilities, was left deserted and ignored. At Versailles, with power out of their reach, the French nobility became the ornament of the king, not his rival.
Louis drew the nobles to him, and once they were there, he did not abandon them to dreariness and boredom. At the Sun King's command, brilliant entertainment kept everyone busy from morning until night. Everything revolved in minute detail around the King. His bedroom was placed at the very center of the palace, looking eastward over the Cours de Marbre. From eight o'clock in the morning, when the curtains of the royal bed were drawn aside and Louis woke to hear, "Sire, it is time," the monarch was on parade. He rose, was rubbed down with rosewater and spirits of wine, was shaved and dressed, observed by the most fortunate of his subjects. Dukes helped him to pull off his nightshirt and pull on his breeches. Courtiers argued over who was to bring the King his shirt. They jostled for the privilege of presenting the King with his chaise percee, (his "chair with a hole in it"), then crowded around while the King performed his daily natural functions. There was throng in his chamber when he prayed with his chaplain, and when he ate. It followed as he walked through the palace, strolled through the gardens, went to the theater or rode to his hounds. Protocol determined who had a right to sit in the King's presence and whether on a chair with a back or only on a stool. So glorified was the monarch that even when his dinner was passing by, courtiers raised their hats and swept them on the ground in salute, declaring respectfully, "La viande du roi" ("The King's dinner").
Louis loved to hunt. Every day in good weather, he rode with sword or spear in hand, following baying dogs through the forest in pursuit of boar or stag. Every evening, there was music and dancing and gambling at which fortunes were won and lost. Every Saturday night, there was a ball. Often, there were masquerades, elaborate three-day festivals when the entire court dressed up as Romans, Persians, Turks or Red Indians. The feasts at Versailles were gargantuan. Louis himself ate for two men. Wrote the Princess Palatine: "I have often seen the King eat four different plates of soup of different kinds, a whole pheasant, a partridge, a large plate of salad, two thick slices of ham, a dish of mutton in garlic-flavored sauce, a plateful of pastries, and then fruit and hard-boiled eggs. Both the King and 'Monsieur' [Louis' younger brother] are exceedingly fond of hard-boiled eggs." The King's grandchildren later were taught the polite innovation of using a fork to eat with, but when they were invited to dine with the monarch, he would have none of it and forbade them using these tools, declaring, "I have never in my life used anything to eat with but my knife and my fingers."
The main feast at Versailles was a feast of love. The enormous palace with its numberless rooms to slip away to, its crisscrossing alleys of tress, its salutes to hide behind, made a gorgeous stage. In this, as in everything, the King played the leading role. Louis' wife, Maria Theresa, who had came to him as an infanta of Spain, was a simple, child-like creature with large blue eyes. She surrounded herself with half a dozen dwarfs and dreamed of Spain. As long as she lived, Louis upheld his marriage duties, finding his way into her bed eventually every night, dutifully making love to her twice a month. The court always knew these occasions by the fact that the Queen went to confession the following day and her face had a special glow. But the Queen was not enough for Louis. He was highly sexed, always inclined to go to bed with any woman who was handy and relentless in pursuit. "Kings who have a desire, seldom sigh for long," said the courtier Bussy-Rabutin, but there is no record that Louis was ever seriously rebuffed. On the contrary, the court was filled with beautiful woman, most of them married but still ambitious, who flaunted their availabiiity. The three successive Maitresses en Titre (the acknowledged royal mistresses), Louise de La Valliere, Madame de Montespan and Mademoiselle de Fontanges, were but the tip of the iceberg, although with Madame de Montespan it was a grand passion which lasted twelve years and resulted in seven children. No one was disturbed about these arrangements except perhaps the Marquis de Montespan, who angered the King by making a jealous fuss and referring to his wife through all these years as "the late Madame de Montespan."
Whomever the King chose, the court honored. Duchesses rose when a new mistress entered the room. In 1673, when Louis went to war, he took with him the Queen, Louise de La Valliere and Madame de Montespan, then extremely pregnant. All three ladies lumbered along after the army in the same carriage. On campaign, Louis' military tent was made of Chinese silk and had six chambers, including three bedrooms. War, for the Sun King, was not all hell.
Even in France, the view of Louis as a gracious, majestic monarch was not universally held. There were those who found him inconsiderate: he would set off on long carriage rides of five or six hours, insisting that ladies ride with him even when they were pregnant, and then would absolutely refuse to halt so that they might relieve themselves. He seemed unconcerned about the common people: those who tried to speak to him of the poverty his wars were inflicting
were excluded from his presence
as persons of bad taste. He was stern and could be ruthless: after the Affaire des Poisons, in which numerous court personages who had recently died were alleged to have been poisoned and a plot against the life of the King was hinted, thirty-six of the accused were tortured and burned at the stake, while eighty-one men and women were chained up for life at the bottom of French dungeons, their jailors commanded that if they spoke, they were to be whipped. The story of the Man in the Iron Mask, whose identity was known only to the King, and who was held for life in solitary confinement, was whispered at court.
Outside France, a few in Europe regarded the Sun King's rays as wholly beneficial. To Protestant Europe, Louis was an aggressive, brutal Catholic tyrant.
The instrument of Louis' wars was the army of France. Created by Louvois, it numbered 150,000 in peacetime, 400,000 in wartime. The cavalry wore blue, the infantry pale red, and royal guards—the famed Maison du Roi—scarlet. Commanded by the great marshals of France, Conde, Turenne, Vendome, Tallard and Villars, the army of France was the envy—and menace—of
Europe. Louis himself was not a warrior. Although as a young man he went to war, making a dashing figure on horseback in a gleaming breastplate, a velvet cape and a plumed three-cornered hat, the King did not actually participate in battles, but he became quite expert in the details of strategy and military administration. When Louvois died, the King assumed his role and became his own minister of war. It was he who discussed the grand strategy of campaigns with his marshal and saw to the raising of supplies, the recruiting, training and allocation and the collection of intelligence.
Thus the century unrolled, and the prestige of the Sun King and the power and glory of France mounted year by year. The splendor of Versailles aroused the admiration and envy of the world. The French army was the finest in Europe. The French language became the universal language of diplomacy, society and literature. Anything, everything, was possible, it seemed, if beneath the paper bearing the command there appeared the tall, shaky signature "Louis."
At the time of the Great Embassy, the gap between Russia and the West seemed far wider than anything measurable in terms of seagoing ships or superior military technology. From the West, Russia appeared dark and medieval—the glories of its architecture, its icons, its church music and its folk art were unknown, ignored or despised—whereas, to its own educated inhabitants at least, late-seventeenth-century Europe seemd a brilliant, modern community. New worlds were being explored not only across the oceans but also in science, music, art and literature. New instruments to meet practical needs were being invented. Today, many of these achievements have become the necessities and treasures of modern mart—die telescope, the microscope, the thermometer, the barometer, the compass, die watch, the clock, champagne, wax candles, street lighting and the general use of tea and coffee all made their first appearance in these years. Fortunate men already had heard the music of Purcell, Lully, Couperin and Corelli; within a few years, they would listen also to the works of Vivaldi, Telemann, Rameau, Handel, Bach and Scarlatti (the last three all born in the same year, 1685). At court and in the ballrooms of the nobility, ladies and gentlemen danced the gavotte and the minuet. France's trio of immortal playwrights, Moliere, Corneille and Racine, probed deep into the foibles of human nature, and their plays, first performed before their royal patron at Versailles, spread rapidly in performance and reading to every corner of Europe. England was giving to literature Thomas Hobbes, John Locke, Samuel Pepys and John Evelyn, the poets