The Emperor did not remain in Vienna, but established his headquarters at the chateau of Schoenbrunn, an imperial residence situated about half a league from the town; and the ground in front of the chateau was arranged for the encampment of the guard. The chateau of Schoenbrunn, erected by the Empress Maria Theresa in 1754, and situated in a commanding position, is built in a very irregular, and defective, but at the same time majestic, style of architecture. In order to reach it, there has been thrown over the little river, la Vienne, a broad and well-constructed bridge, ornamented with four stone sphinxes; and in front of the bridge is a large iron gate, opening on an immense court, in which seven or eight thousand men could be drilled. This court is square, surrounded by covered galleries, and ornamented with two large basins with marble statues; and on each side of the gateway are two large obelisks in rose-
colored stone, surmounted by eagles of gilded lead.
'Schoenbrunn', in German, signifies beautiful fountain; and this name comes from a clear and limpid spring, which rises in a grove in the park, on a slight elevation, around which has been built a little pavilion, carved on the inside to imitate stalactites. In this pavilion lies a sleeping Naiad, holding in her hand a shell, from which the water gushes and falls into a marble basin. This is a delicious retreat in summer.
We can speak only in terms of admiration regarding the interior of the palace, the furniture of which was handsome and of an original and elegant style. The Emperor's sleeping-room, the only part of the building in which there was a fireplace, was ornamented with wainscoting in Chinese lacquer work, then very old, though the painting and gilding were still fresh, and the cabinet was decorated like the bedroom; and all the apartments, except this, were warmed in winter by immense stoves, which greatly injured the effect of the interior architecture. Between the study and the Emperor's room was a very curious machine, called the flying chariot, a kind of mechanical contrivance, which had been made for the Empress Maria Theresa, and was used in conveying her from one story to the other, so that she might not be obliged to ascend and descend staircases like the rest of the world. This machine was operated by means of cords, pulleys, and weights, like those at the theater.
The beautiful grove which serves as park and garden to the palace of Schoenbrunn is much too small to belong to an imperial residence; but, on the other hand, it would be hard to find one more beautiful or better arranged. The park of Versailles is grander and more imposing; but it has not the picturesque irregularity, the fantastic and unexpected beauties, of the park of Schoenbrunn, and more closely resembles the park at Malmaison. In front of the interior facade of the palace was a magnificent lawn, sloping down to a broad lake, decorated with a group of statuary representing the triumph of Neptune. This group is very fine;
but French amateurs (every Frenchman, as you are aware, desires to be considered a connoisseur) insisted that the women were more Austrian than Grecian, and that they did not possess the slender grace belonging to antique forms; and, for my part, I must confess that these statues did not appear to me very remarkable.
At the end of the grand avenue, and bounding the horizon, rose a hill, which overlooked the park, and was crowned by a handsome building, which bore the name of la Gloriette. This building was a circular gallery, inclosed with glass, supported by a charming colonnade, between the arches of which hung various trophies. On entering the avenue from the direction of Vienna, la Gloriette rose at the farther end, seeming almost to form a part of the palace; and the effect was very fine.
What the Austrians especially admired in the palace of Schoenbrunn was a grove, containing what they called the Ruins, and a lake with a fountain springing from the midst, and several small cascades flowing from it; by this lake were the ruins of an aqueduct and a temple, fallen vases, tombs, broken bas-reliefs, statues without heads, arms, or limbs, while limbs, arms, and heads lay thickly scattered around; columns mutilated and half-buried, others standing and supporting the remains of pediments and entablatures; all combining to form a scene of beautiful disorder, and representing a genuine ancient ruin when viewed from a short distance. Viewed more closely, it is quite another thing: the hand of the modern sculptor is seen; it is evident that all these fragments are made from the same kind of stone; and the weeds which grow in the hollows of these columns appear what they really are, that is to say, made of stone, and painted to imitate verdure.
