estate of Vaux to fill the long arcades of the orangery.

In the midst of the activities of masons, carpenters, gardeners, the King
was dominant, directing minute details--the laying of floors, the hanging
of draperies, the installation of art works in the chapel. The restive
master of the estate was impatient to enjoy his creation, and to invite
his Court there to celebrate its completion with fêtes both brilliant and
costly. Colbert wrote in a letter dated September, 1663, of the beauty
of the chateau's adornments--its Chinese filigree of gold and silver.

"Never," he swore, "had China itself seen so many examples of this work
together--nor had all Italy seen so many flowers." Colbert suffered, but
the King found royal satisfaction. The splendid scene of the Sun King
must be set--the people had to pay. It was Colbert's affair to finance
it.

The King commanded a series of fêtes to be arranged. For eight days
every diversion appropriate to the autumn season was enjoyed by the royal
family and all the Court. Every day there were balls, ballets, comedies,
concerts, promenades, hunts. Molière and his troupe were commanded to
appear in a new piece called "_Impromptu de Versailles_."

Colbert regretted the absorption of his sovereign in Versailles, "to the
neglect of the Louvre--assuredly the most superb palace in the world."
Louis tolerantly gave ear and inspected the Louvre, but to the building
of Versailles he devoted all his enthusiasm.

The appearance of the villa erected by Louis XIII had been vastly altered
as to its roofs, chimneys, facades. In 1665 the court was ornamented by
the placing of the pedestals and busts that still surround it. In