When not actually living at Saint Cyr it was Madame de Maintenon's custom to come hither from Paris each day, arriving between seven and eight in the morning, passing the day and returning to town for the evening, much as a celebrated American millionaire journalist, whose country-house overlooks the famous convent garden, does to-day.

Madame de Maintenon actually went into retirement at Saint Cyr upon the death of Louis XIV, and for four years, until her death, never left it. She died from old age, rather than from any grave malady, in this "Maison d'Education," which she had inaugurated, and was buried in the chapel, beneath an elaborate tomb which the Duc de Noailles, who married her niece, caused to be erected. The tomb was destroyed during the Revolution and the "Maison Royale de Saint Cyr," of which nothing had been changed since its foundation, was suppressed, the edifice itself being pillaged and the remains of Madame de Maintenon sadly profaned, finally to be recovered and deposited again in the chapel where a simple black marble slab marks them in these graven words:

Cy-Git Madame De Maintenon
1635-1719-1836

Napoleon I established the École Militaire at Saint Cyr, from which are graduated each year more than four hundred subaltern officers.

The ancient gardens of Madame de Maintenon's time now form the "Champs de Mars," or drill ground, of the military school.

South from Saint Cyr runs the great international highroad, the old Route Royale of the monarchy. It rises and falls, but mostly straight as the flight of the crow, until it crosses the great National Forest of Rambouillet. Following the valley of the Eure almost to its headwaters it finally comes to Maintenon, a town of a couple of thousand souls, whose most illustrious inhabitant was that granddaughter of Theodore-Agrippa d'AubignÉ, named FranÇoise, and who came in time to be the Marquise de Maintenon.

The Chateau de Maintenon was royal in all but name. The Tresorier des Finances under Louis XI, Jean Cottereau (a public official who made good it seems, since he also served in the same capacity for Charles VIII, Louis XII, and Francis I), had a single daughter, Isabeau, who, in 1526, married Jacques d'Angennes, who at the time was already Seigneur de Rambouillet.

As a dot this daughter acquired the lands of Maintenon. The property was afterwards sold to the Marquis de Villeray, from whom Louis XIV bought it in 1674 and disposed of it as a royal gift to FranÇoise d'AubignÉ, the fascinator of kings, who was afterwards to become (in 1688) Madame La Marquise de Maintenon.

This ambitious woman subsequently married her niece to the Duc d'Ayen, son of the MarÉchal de Noailles, and as a marriage portion—or possibly to avoid unpleasant consequences—turned over the property of Maintenon to the young bride and her husband to whose family, the Noailles, it has ever since belonged.

To-day the Duc and Duchesse de Noailles make lengthy stays in this delightful seigneurial dwelling, and since the apartments are full to overflowing of historical souvenirs of their family it may be truly said that their twentieth century life is to some considerable extent in accord with the traditions of other days.

The existence of this princely residence is an agreeable reminder of the life of luxury of the olden time albeit certain modernities which we to-day think necessities are lacking.

Maintenon is certainly one of the most beautiful so-called royal chateaux of France, if not by its actual importance at least by many of the attributes of its architecture, the extent of the domain and the history connected therewith. It bridges the span between the private chateau and those which may properly be called royal.

In the moyen-age Maintenon was a veritable chateau-fort, forming a quadrilateral edifice flanked by round towers at three of its angles, and at the fourth by a great square mass of a donjon, all of which was united by a vast expanse of solidly built wall which possessed all the classic attributes of the best military architecture of its time. Entrance was only over a deep moat spanned by a drawbridge.

Jean Cottereau made his acquisition of the domain towards 1490 and immediately planned a new scheme of being for the old fortress which, according to a more esthetic conception, would thus be brought into the class of a luxurious residential chateau. He destroyed the courtines which attached the great donjon to the rest of the building, and opened up the courtyard so that it faced directly upon the park. He ornamented sumptuously the window framings, the dormer windows, and the turrets, and framed in the entrance portal with a series of sculptured motives which he also added to the entrance to the great inner stairway. In short it was an enlargement and embellishment that was undertaken, but so thoroughly was it done that the edifice quite lost its original character in the process. Like all the chateaux built at this epoch Maintenon was no longer a mere fortress, but a palatial retreat, luxurious in all its appointments, and shorn of all the manifest militant attributes which it had formerly possessed.

The shell was there, following closely the original outlines, but the added ornamentation had effectually disguised its primordial existence. Living rooms needed light and air, while a fortress or quarters for troops might well be ordained on other lines. The Renaissance livened up considerably the severe lines of the Gothic chateaux of France, and though invariably the marks of the transition are visible to the expert eye it is also true, as in the case of Maintenon, that there is frequently a homogeneousness which is sufficiently pleasing to effectually cover up any discrepancies which might otherwise be apparent. The warrior aspect is invariably lost in the transition, and thus a Renaissance residential chateau enters at once into a different class from that of the feudal fortress regardless of the fact that such may have been its original status.

The armorial device of Jean Cottereau—three unlovely lizards blazoned on a field of silver—is still to be seen sculptured on the two towers flanking the entrance portal which to-day lacks its old drawbridge before mentioned. Surrounding the edifice is a deep, unhealthful, mosquito-breeding moat which is all a mediÆval moat should be, but which is actually no great attribute to the place considering its disadvantages. One wonders that it is allowed to exist in so stagnant a condition, as the running waters of the near-by Eure might readily be made use of to change all this. The site of the chateau at the confluence of the Eure and the Voise is altogether charming.

Madame de Maintenon did much to make the property more commodious and convenient and built the great right wing which binds the donjon to the main corps de logis. Her own apartments were situated in the new part of the palace. She also built the gallery which leads from the Tour de Machicoulis to the pointed chapel, which was a construction of the time of Cottereau, an accessory which every self-respecting country-house of the time was bound to have. It was by this gallery that the open tribune in the little chapel was reached, thus enabling Louis XIV to pass readily to mass while he was so frequent a visitor at that period when, at Maintenon, he was overseeing the construction of his famous aqueduct.

Maintenon has had the honour, too, to count among its illustrious guests Racine, who came at the request of Madame de Maintenon, and here wrote "Esther" and "Athalie" which were later produced at Saint Cyr by Madame de Maintenon's celebrated band of "Demoiselles."

Louis XIV was not the last of royal race to accept the Chateau de Maintenon's hospitality for the unhappy Charles X was obliged to ask shelter of its chatelain for himself and fleeing family. They arrived a little after midnight of a hot August night, slept as well as possible in the former apartments of Madame de Maintenon, and attended mass in the chapel on the following morning. The monarch then discharged the royal guard and the "hundred Swiss" and gave up, defeated at the game of playing monarch against the will of the people.

One enters the Cour d'Honneur by a great portal of the time of Louis XIV. Immediately before one is the principal faÇade, with its towers of brick and its slender little turrets framing in so admirably the entrance door. This faÇade is of the fifteenth century and on the tympan of the dormer windows one may still see the monogram of its builder, Cottereau. The drawbridge has been made way with, and the turrets over the portal have been bound together by a diminutive balcony of stone, which, while a manifest superfluity, is in no way objectionable.

Under the entrance vault are doors on either side giving access to the living apartments of the rez-de-chaussÉe. In the inner courtyard is to be found the most exquisite architectural detail of the whole fabric, the tower which encloses the monumental stairway, to which entrance is had by a portal which is a veritable Gothic jewel. In the tympan of this portal, as in the dormer windows, is the device of Jean Cottereau, except in this case it is much more elaborate—a Saint Michel and the dragon, surrounded by a "semis de coquilles" bearing the escutcheons of the chatelain—d'argent À lezards de sable.

At the left of this stairway tower is the principal courtyard faÇade, supported by four arcades, pierced with great windows and surmounted by two fine dormer windows, all in the style of Louis XII, of which the same effects to be observed at Blois and in the Hotel d'Alluye are contemporary.

At the left of the inner court is the wing built by Cottereau which terminates in a great round tower, while to the right is that erected by Madame de Maintenon ending at the donjon. Directly opposite is a magnificent vista over the canal of ornamental water framed on either side by patriarchal trees and having as a background the silhouette of the arches of the famous aqueduct which was to lead the waters of the Eure to Versailles.

The interior of the chateau is not less remarkable than the exterior. Entering by the tower portal one comes at once to that magnificent grand escalier which is accounted one of the wonders of the French Renaissance.

The Salle À Manger of to-day was the old-time Salle des Gardes. It is garnished with a fine wainscoting and panels of Cordovan leather. The Chambre À Coucher of Louis XIV, to the left, is to-day the Salon, and here are to be seen portraits of Louis XIV, Louis XII, Francis I, Henri IV, and Louis XIII.

A tiny rotunda contains a statue of Henri IV as a child, and portraits of Madame de Maintenon and Louis XIV in their youth. A portrait gallery of restrained proportions contains effigies of Madame de Maintenon and her niece Mademoiselle d'AubignÉ, the Duc de PenthiÈvre, the Comtesse de Toulouse, the Duc de Noailles, the Duchesse de Villars and the Duchesse de Chaumont.

The show-piece of the chateau, albeit of recent construction, is known variously as the "Grand Galerie" and the "Longue Galerie." Its decorations are due to the Duc de Noailles, the father of the present proprietor. Virtually it is a portrait gallery of the Noailles family, going back to the times of the Crusaders and coming down to the twentieth century.

The apartments of Madame de Maintenon form that portion of the chateau which has the chief sentimental interest. In an ante-chamber is a chaise À porteurs once having belonged to the Marquise, and her portrait by Mignard. Cordovan leather is hung upon the walls, and the restored sleeping-room is hung with a canopy and separated from the rest of the apartment by a balustrade in bois dorÉ. Above the chimney-piece is a portrait of Louis XIV, after Rigaud, and, finally, the oratory is ornamented by a series of elegant sculptures in wood and a magnificent Boule coffer.

In the left wing is found a beautiful chapel of the fifteenth century, which is very pure in style. It is decorated with a series of Renaissance wood panels of the finest workmanship. The coloured glass of the windows is of the sixteenth century.

The rebuilt monumental stairway connects directly with a passage leading to the entrance portico which opens on the garden terrace before the parterre.

The park of Maintenon is in every way admirable, with its pelouse, its great border of trees, its waterways and more than thirty bridges. Jean Cottereau himself planned the first vegetable and fruit garden, or potager, the same whose successor is the delight of the dwellers at Maintenon to-day.

The parterre, the Grand Canal and the two avenues of majestic trees were due to the conception of Le Notre, and their effect, as set off by the alleyed forest background and the pillars of the aqueduct of Louis XIV, is something unique.

The gardens at Maintenon were perhaps not Le Notre's most famous work but they followed the best traditions of their time, and because of their vast expanse of ornamental water were, in a way, quite unequalled.

Ambling off towards the forest is a great avenue flanked with high overhanging shade trees known as the AllÉe Racine. It gets its name from the fact that the dramatist was wont to take his walks abroad in this direction and woo the muse while he was a guest of Madame de Maintenon.