the King’s beauty-loving eyes dwelt upon the North Terrace, with its rich growth of greenery, on the graceful Fountains of the Pyramid and the Dragon, and above all on the magnificently soaring fountains of Neptune’s Basin.  At his left were the Terrace of Flowers, the two stairways that flanked the Orangery, chief work of Mansard and especial pride of Louis, and the lake in the small park named for the Swiss Guards.  Nowhere, it is safe to say, could a place be found that embraced so many beautiful garden views at one time.

Bordering the avenue that Le Notre opened through the primitive groves where Louis XIII once came to hunt—­on either side the broad lane of trees and leaping waters—­groves were laid out, varied in design and decoration—­delectable retreats where lovers, traitors, diplomats might vow and plot, beneath the discreet ears of marble nymphs and goddesses.

Many of the groups and marble figures
that beautified the walks and bowers of
Versailles were conceived by the gifted
Lebrun.  Among his designs were the Four
Seasons, the Four Quarters of the Globe,
the Four Kinds of Poetry (Heroic, Satiric,
Lyric and Pastoral), the Four Periods of
the Day (Morning, Noon, Twilight,
Night), the Four Elements (Earth, Air,
Fire, Water), the Four Temperaments
(Phlegmatic, Melancholy, Coleric and
Sanguine).  Mythological figures, vases
ornamented with bas-reliefs of Louis XIV and
great men of his reign, fountain groups
representing the chief rivers of France,
water nymphs, sportive babies, beasts in
combat—­sculpture massive, graceful,
grotesque—­all added their individual lure to
the dells, the walks and the terraces of the
magic palace.

Tile-workers from Flanders, marble-cutters from the Pyrenees, Italy and Greece, masons, sculptors, castmen, metal-workers, bronze colorists—­innumerable artisans trained to meet the exacting tastes of that Silver Age of Art—­lent their skill to the construction of fountains whose ingenuity and variety have set a standard for all time for the makers of kingly estates.  A hundred sculptors of highest reputation were engaged to model groups, statues, busts and low reliefs for the Versailles park, under the supervision of Lebrun and Mignard.

Ladies of the Court sometimes claimed the ear of the compliant Andre Le Notre to suggest fancies that he graciously evolved with greenery and marbles, with tinkling streams and bright-winged birds.

The new Orangery, begun by Mansard on plans submitted by Le Notre, consumed nearly ten years in building, from 1678 to 1687.  Twin stairways, one hundred and three steps high, united the South Parterre with the Parterre of the Orangery.  The shelter erected for the protection of hundreds of orange trees, which often blossomed and came to fruit, contained a main gallery and two lateral galleries, lighted by twelve large windows.  In the center stood a huge statue of Louis the Great.  During warm weather the tubs containing the orange trees were set out on the Orange Parterre between the lofty stone stairways.  The Orangery was one of the favorite retreats of the King.  Besides the royal family, only those were permitted to stroll among the fragrant trees that had been granted special permission to do so.