by Jubal Early
Jackson's command, after having rested on the morning of the 31st, in the afternoon of that day was put in motion for the purpose of turning the enemy's position at Centreville. Crossing Bull Run at and near Sudley's Ford, it moved to the left over a country road, Jackson's division in front followed by Ewell's and Hill's bringing up the rear, until the Little River Turnpike was reached, when we turned towards Fairfax Court-House and bivouacked late at night. Early on the morning of September the 1st, the march was resumed, and continued until we reached the farm of Chantilly in the afternoon. The enemy was found in position, covering the retreat of his army, near Ox Hill, not far from Chantilly, and a short distance beyond which the Little River Pike, and the pike from Centreville to Fairfax Court-House, intersect.
General Jackson at once put his troops in position on the ridge on the east of the Little River Pike, with his own division on the left, Hill's on the right and Ewell 's in the centre; Hays' and Trimbles brigades only of Ewell's division being on the front line, Lawton's and mine being formed in the woods in their rear. As we moved into position the enemy opened a heavy artillery fire on us, and soon the action commenced with some of Hill's brigades on the right, extending to Trimble's and Hays' brigades. During this action a severe thunder storm raged, and while it was progressing, General Starke, then in command of Jackson's division, represented to me that a heavy force was threatening his left, between which and the pike there was a considerable interval, and requested me to cover it with my brigade to protect him from the apprehended danger.
After examining the position I reluctantly consented to yield to General Starke's entreaty, without awaiting orders, as Hays' brigade was in my front and he represented his situation as critical, and I proceeded to move my brigade by the left flank to the point designated by him. I had put myself on the leading flank, and while moving I heard a considerable musketry fire, but as the woods were very thick and it continued to rain I could see only a short distance, and took it for granted that the firing proceeded from the troops in front of where I had been.
On reaching the position General Starke desired me to occupy, which was but a short distance from the place I had moved from, as his left was drawn back in a circle towards the pike, I discovered that the 13th, 25th and 31st Virginia Regiments which were on my right had not followed the rest of the brigade. I immediately sent my aide, Lieutenant Early, back to see what had become of the missing regiments, and he found them engaged with a body of the enemy in their front. On ascertaining this fact, I moved back at once and found that my regiment had repulsed the force opposed to them and inflicted considerable loss on it. Hays' brigade under Colonel Strong had fallen back in considerable confusion about the time I commenced my movement, and passed through the three regiments on my right, followed by a considerable force of the enemy. The commanding officers had very properly detained those regiments, as the affair was entirely concealed from my view, and they had received the enemy's onset with great coolness, driving him back out of the woods.
Colonel Strong had attempted to change front when the enemy were advancing on him, and, being entirely inexperienced in the management of a brigade, he had got it into such confusion that it was compelled to retire. The 8th Louisiana Regiment, under Major Lewis, had been halted and formed into line immediately in rear of my regiments, and the remaining regiments were soon rallied and brought back by their respective commanders. After quite a severe action, in which the enemy lost two
general officers, Kearney and Stevens, he was repulsed at all points, and continued his retreat during the night. After the close of the action, Jackson's division was withdrawn from the left to the rear, and Ewell 's division covered the point previously covered by General Starke, and Hays' and Trimble's brigades, and the men lay on their arms during the night. While Trimble 's brigade was engaged, the gallant old Captain Brown, of the 12th Georgia Regiment, in command of the brigade, was killed, and Colonel James A. Walker of the 13th Virginia Regiment was subsequently assigned to the command of the brigade, as it had no field officer present.
On the morning of the 2nd it was discovered that the enemy had retired from our front, and during that day Pope made good his escape into the fortifications around Washington. He had now seen the "rebels" in various aspects and found that his lines of retreat would not take care of themselves; and very soon he was shipped and sent to the northwest to look after the Indians in that quarter.
This affair at Ox Hill closed the series of engagements with the enemy under Pope, and it was again the old story of the "rebels in overwhelming numbers," opposed to a small army of "Union soldiers." According to Pope's account, his army was wearied. out and broken down by the fatigues of the campaign on the Rappahannock, and the incessant marching and maneuvering to confront Lee's army, and was short of rations and ammunition. It does not seem to have occurred to him that the soldiers of the army which thus wearied his own were at all susceptible of fatigue or hunger, or that when his own rations were short, their chances of supplying themselves were slim.
Pope's army had at the time of the battles of the 27th, 28th, 29th and 30th of August, been reinforced by Burnside's corps under Reno, one brigade of Sturgis' division from Alexandria, and the following troops from McClellan's army: Heintzelman's corps, Porter's corps, and the division of Pennsylvania reserves commanded by Reynolds. At the time of the affair at Ox Hill he had been further reinforced by Franklin's and Sumner's corps of McClellan's army, leaving but one corps of that army (Keyes') which had not reached him. His consolidated report of the 31st of July showed a strength of 46,858 before he was joined by any of those reinforcements and in the letter of Halleck to McClellan, dated the 6th of August, Pope's army is stated to be about 40,000. In a telegram from Halleck to McClellan, dated the 12th of August, Burnside's force is stated to be nearly 13,000.
General Lee's army at the time of these battles near Manassas consisted of Jackson's wing of the army in which there were three divisions of infantry containing fourteen brigades, Longstreet's wing in which there were four divisions of infantry containing fifteen brigades, and two brigades of cavalry under Stuart. There was about one battery of artillery of four guns for each brigade attached to the divisions, and there was a reserve force of artillery which may have numbered some eight or ten batteries, but perhaps not so many.
Longstreet's command consisted of his own division, seven brigades; Hood's division, two brigades; Jones' division, three brigades; and Anderson's division, three brigades. The whole of those brigades, as well as the force of Jackson, had been in the battles around Richmond, except Evans' brigade-attached to Longstreet's division,-and Drayton 's brigade, attached to Jones' division. Those two brigades had probably been brought from the South since those battles, or they may have been organized out of regiments attached to other brigades at that time; but I think they were brought from North and South Carolina, and if such was the fact, they were the only reinforcements which I ever heard of reaching General Lee after the battles around Richmond or before or during the campaign against Pope or the campaign in Maryland. D. H. Hill's division of five brigades; McLaw's division of four brigades, composed of his own and Magruder's consolidated; and the force of Holmes and Wise-all of which had constituted part of the army at Richmond during the battles,-had been left for the protection of that city until the whole of McClellan's force moved from James River.
When that event was fully ascertained, Hill's and McLaw 's division and two of Holmes' brigades, under Walker, had been ordered to move North, but Hill and Mclaws got up on the 2nd, the day after the affair at Ox Hill, and Walker later, so that Pope had only to confront the 29 brigades before mentioned. My brigade was fully an average one, and my effective force did not exceed 1,500. Some idea therefore may be formed of the force with which General Lee fought the second battle of Manassas; I don't think it could have exceeded 50,000 effective men in all, including artillery and cavalry, and it was probably considerably under that number.
The loss in Ewell's division, beginning with the artillery fighting on the Rappahannock and ending, with the affair at Ox Hill, was in killed 366, wounded 1,169, and missing 32, the loss in my own brigade being 27 killed and 181 wounded.
The main battle, which occurred on the 29th and 30th of August, has been called the second battle of Manassas, but I think the little village or hamlet of Groveton is entitled to the honor of giving its name to that great battle, as the fighting began there on the 28th, and was all around it on the 29th and 30th.
The first battle near the same spot, on ground which was again fought over, had been properly named, as Manassas Junction was then the headquarters and central position of our army, and was the objective point of the enemy during the battle. Such was not the case with either army at the last battle, and the Junction, several miles off, had no more relation to the battle than Bristow, Gainesville or Centreville.
Chantilly Cream History and Recipe
The invention of Chantilly whipped cream is often attributed to the great French chef Vatel who worked in the kitchens of the Château de Chantilly. In April 1671 he was commissioned to organise a party for the Duc de Condé, owner of Chantilly, and his cousin Louis XIV at the Chateau. The party lasted from 23 to 25 April, sumptuous meals were served, illuminations, hunting and lavish entertainment were organised. For the famed Vatel however, things did not go so well. There were problems in the kitchen and with supplies and it is said that unable to bear the indignity of failure, Vatel committed suicide before the party was over.
Legend has it that one of the problems was the non delivery of cream for the dishes Vatel had planned. In order to give volume to the cream supplies he had, Vatel created Chantilly cream. But – that is not true, it is a myth say historians.
The recipe for whipped frothy cream goes back much further. Recipe books from many years before feature a cream with vanilla and egg white “light like snow”. Not until a century after that famous party would the name Chantilly Cream be applied and the recipe would include sugar as we know it today.
In the late 18 th Century, the Hamlet of Chantilly was created in the grounds of the Chateau. It was inspired by the Prince de Condé’s desire to honour a natural, healthy and simple life – not unlike the little farm at Versailles where Marie Antoinette also hankered after a less complicated life.
The Chantilly hamlet consisted of a dairy, mill, stables, a little inn, barns and cottages. Although seemingly simple and peasant like from the outside, inside they retained princely dimensions. Concerts were held there and grand dinners. The rich and famous flocked to see this novelty and enjoy the Prince’s hospitality including the Tsar of Russia to be and his entourage. One of them wrote about “the cream Chantilly, Chantilly! This leaves a great deal of mystery between ‘shaped creams’ of the seventeenth century and whipped cream… a sweet cream”. I was lucky enough to see the chefs in Vatel’s old kitchen at the Chateau prepare cream for the restaurant – it looked like hard work!
The name stuck and is now known the world over as Chantilly cream…
The Château de Chantilly is the work of one man: Henri of Orléans, the Duke of Aumale (1822-1897), who, throughout his life, was constantly paying tribute to the rich culture of the domain and to his illustrious predecessors, in particular the Montmorency family and the Princes of Condé. The Château de Chantilly belonged to several princely dynasties who contributed to its development down through the centuries.
A domain that is central to History
Shaped from the Middle Ages to the 19th century by its various owners, the history of the Château de Chantilly is closely intertwined with the History of France.
The home of a prince and collector
The Château de Chantilly is one of the finest jewels in the crown of France’s cultural heritage. It is the work of a man with an extraordinary destiny: Henri d’Orléans, Duke of Aumale (1822-1897), fifth son of Queen Marie-Amélie and King Louis-Philippe, the last King of France. Thanks to the precautions taken by the Duke of Aumale in his will, Chantilly remains, more than a century later, a showcase of preserved works where the charm of the 19th century continues to reign.
The men who left their mark on Chantilly
The Château de Chantilly always belonged to princely dynasties that were close to royal power but also rivalled with it. These dynasties were deeply committed to the upkeep and embellishment of the domain, according to the fashions of their time.
Landscape Supply Delivery in Chantilly
Located about 24 miles outside of Washington, D.C., Chantilly, Virginia, is a high-powered, bustling city in western Fairfax Country, Virginia. With rich history, including the Battle of Chantilly during the Civil War, Chantilly, Va., has existed as a staple of Northern Virginia for a couple of centuries. Chantilly houses the Sully Historic Site, the Steven F. Udvar-Hazy Center, and Dulles International Airport. With so much history, culture, and personality, it makes sense that Chantilly would require the highest-quality landscaping material.
Saunders Landscape Supply supplies Chantilly, Virginia, with mulch, topsoil, gravel & stone, sand, firewood, and wood chips. With free bulk delivery, you can have premium landscaping materials on your home in Chantilly, often on the same day. Integrated into the Chantilly history, Saunders Landscape Supply has been supplying Chantilly with landscaping materials since 1994. Our high-quality supplies stand the test of time, with premium customer care and quality service.
Coscombe Fine Porcelain
Royal Worcester porcelain – The first production of porcelain in Worcester took place in 1751. An eminent surgeon, Dr John Wall, perfected the secret recipe for the production of soft paste porcelain and a factory was founded on the banks of the river Severn. The river was essential for transporting both production materials and wares.
Having gained a reputation for producing quality tableware, Worcester flourished under the guideance of a series of owners. The companies were Chamberlains, Flight Barr, Lockie and Grainger, and Binns Kerr. All made improvements to the manufacture of porcelain, adding new glazes, shapes and designs.
The Worcester factory was able to engage the services of excellent artists and some of the finest porcelain was produced there. Royal patronage was added, firstly by king George III in 1789 and has been continually reviewed and renewed with each change of monarch.
City of Worcester
In 1862 The Royal Worcester porcelain company was formed. The factory continued producing mainly tableware during the nineteenth century and a few figurines were introduced, mostly by James Hadley.
By the start of the twentieth century sales were in decline and in 1930 the factory went into receivership. CW Dyson Perrins bought the factory and set about reforming production there. It was during this period that new modellers were brought in, many of them freelance artists, and from then on Worcester porcelain saw a revival to it’s heydays of the eighteenth century.
Dorothy Doughty (1892-1962) and Freda Doughty (1895-1972)
Over the next five decades it’s most successful artists were the Doughty sisters, Dorothy and Freda, Doris Linder, Gwendolen Parnell, and Eva Soper.
Tableware was revolutionised by ovenproof porcelain in 1931 and for the first time decorative porcelain cookware was produced which was hugely successful.
Production at the Royal Worcester works on the Severn ceased in 2006 and the factory finally closed in 2009. There is a world famous museum on the original site which has a truly wonderful and vast collection of Worcester porcelain.
Doris Lindner ( 1896 - 1979 )
Evesham - oven to table ware
The methods and materials used in the manufacture of Porcelain at Royal Worcester have basically remained the same for the last 250 years. The differences in the ceramic bodies are determined by the proportions of the ingredients used and the temperatures they are fired at.
- Soapstone: Mined in Cornwall and used as a substitute for China Clay
- China Clay: White clay also mined in Cornwall
- Feldspar: Very translucent glass like material that fuses the other materials together on firing
- Quartz: Translucent, helps to prevent distortion on firing
- Bone ash: Calcite cattle bone, gives bone china its strength, translucency and whiteness.
The raw materials are mixed with water to form a liquid clay or slip. Impurities are removed using electromagnets and most of the water is extracted to produce a solid clay body for hand or machine forming. Originally some items were thrown on a potter’s wheel or pressed onto moulds to ensure uniformity. Although manufacturing methods have changed very little since the eighteenth century, semi automation for most of these processes has taken over.
Slip casting: Objects such as teapots, vases, jugs and figures are made by pouring slip into plaster of paris moulds. The resultant casts are removed from the moulds assembled using more liquid slip and the rough edges smoothed away. Several moulds can be used to make up a complicated piece.
After assembly the object has its first firing – Biscuit
Following the biscuit firing the object is either dipped or sprayed with liquid glaze. The glaze becomes clear and bright on firing.
i) Hand Painting – painters worked in two sections, the senior department where all the free hand painting of scenes and fruit take place and the ornament department where the painting of figures to the original modellers standard.
ii) Printing – early designs were engraved on a copper plate and transferred onto tissue paper which was positioned on the object and then fired. During the 1920’s and 30’s print patterns were popular. Painters added enamel colours by hand to printed patterns.
iii) Lithographic printing – this is a full colour photographic process which is added to the object via a plastic film which burns away on firing leaving the printed patern.
iv) Gilding and Burnishing – the final process in ceramic manufacture. Gold is applied by brush, then fired and burnished.
CHANTILLY: Delicacy and Refinement
This is the third in a series of articles that will revisit some of the topics covered in previous columns, some of which were published a number of years ago. Versions of the article on Chantilly have previously appeared in the Crystal Ball, The DAZE, and the now defunct Glass Review.
A new Cambridge catalog went into effect on January 1, 1940 and it included eight plate etchings. These are Blossom Time, (the subject of the first article in this series), Candlelight, Chantilly, Diane, Elaine, Portia, Rose Point (second in the series) and Wildflower. Only three of these etchings were continued by the new owners of the Cambridge Glass Co. when the factory resumed operation in 1955 following the 1954 shutdown and sale, these being Rose Point, Wildflower and Chantilly.
The February 1939 issue of "Crockery & Glass Journal" contained a small photograph that showed three pieces of glass with this caption: "Two new etchings are illustrated on the Martha shape from Cambridge Glass Co. Goblet and mayonnaise set show the Chantilly etching, designed to match the popular silverware pattern, and the plate carries Blossom Time, a charming flower treatment. " During the fall of 1939 Chantilly was also featured in Cambridge advertising placed in consumer magazines such as "House and Garden." The text of one such advertisement read: "The distinctive Chantilly, a design of exceptional delicacy and refinement. Both Chantilly and Blossom Time are exceptionally light in weight and appearance, and harmonize perfectly with any type of decoration. Available in over 150 PCs, at unusually modest prices."
Exactly when Chantilly was shown to the trade and then introduced to the public is not known. There is evidence, in the form of etching plates, that indicates the design was created as early as 1936. Thus its introduction could have been as early as 1936 or perhaps not until January 1939. Cambridge was quite free in their use of the word "new." For example, Chantilly was still being promoted as "new" in the summer of 1940, a year and a half after its first known appearance in a trade publication.
Chantilly was well received and, as a result, became a major etching line. During its twenty plus year history, six different stemware lines were etched Chantilly as were two lines of dinnerware. While some of the stemware lines were available concurrently, the dinnerware lines, Martha (3600) and Corinth (3900) were produced during different time periods. Complementing the dinnerware lines was a large selection of decorative and accessory pieces.
At the time of its introduction, Chantilly was available on two stemware lines, Nos. 3600 and 3625. In addition to being available plain, Chantilly etched No. 3625 stemware was produced with a gold band or gold encrusted. It was probably around 1942 when Chantilly was first used to decorate No. 3775 stemware. Later, in late 1949 or early 1950, No. 3779 stemware began to be etched Chantilly. All four stemware lines continued to be available etched Chantilly until the summer of 1954 and the initial factory shutdown. After the sale, reorganization and reopening, Chantilly as an open stock pattern was offered only on Nos. 3600 and 3625 stemware. For a time after the reopening, there was a special order service through which Chantilly on Nos. 3775 and 3779 blanks could be obtained.
The fifth stemware line on which Chantilly is found, No. 3138, is more elusive since it has not been found in Cambridge advertising or catalogs. Known through actual examples, it is identifiable by its molded "lady leg stem." The stemware line was in production by the summer of 1937 and is pictured in a Cambridge Rock Crystal catalog published in May, 1940. Production of No. 3138 stemware etched Chantilly could have occurred anytime between the date the etching was introduced and 1941-42. Little of this combination is seen and hence it can be concluded there was a short production run and or few sales. It is possible Chantilly on No. 3138 stemware was done as a promotional item, perhaps for Gorham Silver Company, the maker of Chantilly sterling or for some retailer of silver, china and crystal.
Hardest to find of all Chantilly stemware is the sixth line, No. 3080. Its existence was not known until etching plates for the saucer champagne and cocktail were found in material obtained during the Imperial Glass Co. liquidation. Since that time, these pieces have been found as has No. 3080 goblets etched Chantilly.
Since the etching plates are dated 1936 production of No. 3080 stemware etched Chantilly could date to that year. Indications are the stemware line was probably out of production by 1938.
Complementing the complete stemware lines were additional drinking vessels such as the No. 7801 12 oz. footed ice tea, the No. 7801 5 oz. footed tumbler, the No. 7811 cocktail, (a.k.a. 7801 cocktail) and the No. 7966 2 oz. sherry.
The Martha or No. 3600 line was the first of the two dinnerware lines to be etched Chantilly and it was introduced circa 1938. The Martha shape remained in the Cambridge line until the mid to late 1940s when it and many of the other 1930s lines were discontinued. Its replacement, as well as that of the Nos. 3400 and 3500 lines, was the No. 3900 or Corinth line. The first catalog to show Chantilly on Corinth blanks as issued in June 1949. As before, there was a full dinnerware line including a 10-1/2 inch service or dinner plate.
Rounding out the Chantilly line was a number of items from other major Cambridge patterns, Nos. 3400, Gadroon and Pristine. Items from the No. 3400 line etched Chantilly consist primarily of jugs, decanters, and tumblers. Chantilly etched pieces from the other two lines consist mainly of bonbons, bowls, and relishes.
Pitcher collectors should take note of the fact that eight different Cambridge jugs were etched Chantilly during its lifetime. From the early to middle period of its production you will find Nos. 1561, 119, 3400/38 (ball jug) and the 3400/52 Doulton jug. During the late years, four jugs from the Corinth line were etched Chantilly, these being Nos. 115, 116, 117 and 118.
Included in the Martha line were two blown and stemmed candy boxes with lids, Nos. 3600/3 and 3600/4. These differ only in height with the latter being the low version. These were discontinued during the 1940s but during the early 1950s the No. 1066 blown candy box and cover was available etched Chantilly.
Probably the most spectacular pieces of etched Chantilly are the Martha line ten quart punch bowl and eighteen inch under plate. It is doubtful many of these were sold since Martha punch bowls, plain or etched, are seldom seen today.
During the years Chantilly was in the Cambridge line the number of available items varied. Early advertisements claimed it was available in over 150 pieces. The 1940 price list contained 182 listings for plain Chantilly and 83 each for pieces with a gold band or gold encrusted. The June 1949 price list had 113 entries for plain Chantilly and 30 for Chantilly with a gold band. By September 1950, 23 additional items had been added to the Chantilly line, none of which were offered with gold decoration. Gold decorated Chantilly had been dropped from the Cambridge line by the fall of 1953.
1956 saw 106 pieces of Chantilly available, including twenty-one pieces of stemware from the Nos. 3600 and 3625 lines. The final Cambridge price list, dated 1958, contained only 76 entries for Chantilly, nineteen of which were stemware. Included in the listing was a dinnerware line complete with the 10-1/2 inch Corinth service or dinner plate.
Except for a few pieces of gold encrusted Chantilly on Ebony, it is unlikely Chantilly was etched onto colored blanks. The Ebony pieces date to the early years of the etching's production.
A specialized collection could be made of Chantilly etched pieces in Farberware holders. Farber Brothers purchased a number of items, stock, modified stock and custom mold pieces from Cambridge. Included were decanters, sugars and creamers, mustards, marmalades, salts, bowls for stemware, tumblers and more.
Chantilly VA – History
Though few relics and landmarks remain, the area of Chantilly Virginia is rich with Civil War history. Originally the site of a several colonial plantations, Chantilly gets its name from an early-19 th -century farm and mansion that was located on the north side of what was originally the Little River Turnpike. Built on land inherited by Cornelia Lee Turberville Stuart from her father’s estate in 1817, her husband Charles Calvert Stuart incurred a substantial amount of debt to his Sully neighbor Francis Lightfoot Lee in 1847, and used the Chantilly farm and mansion as collateral to secure the note. When he died three years later, it fell to the Widow Cornelia to repay the debt. With the assistance of her son Sholto Turberville Stuart, who acted as her agent and managed farm, the debt was repaid in 1853.
Like his father before him, Sholto Turberville Stuart used slaves as farm laborers and house servants at the Chantilly Farm. Four slaves managed to escape with the help of a local abolitionist in 1855, but Douglas Riley, Trolious Riley, Henry Riley, and Vincent, with a $400 bounty on them, were all recaptured in Point of Rocks, Maryland.
During the Civil war, Chantilly was occupied as a Federal cavalry headquarters, first by General Stahel, then by Col. Percy Wyndham. The house was deserted by the Stuart family in October 1862, with all of the furniture removed except for one mahogany sideboard that was too heavy to lift. The house continued to fall into disrepair and ruin for the next year as calvary troops and horses camped on the property until the mansion was destroyed by a fire in 1863.
There was some initial speculation that the property was destroyed when Federal troops mistook it for Confederate General J.E.B. Stuart’s property, or that it was destroyed by guerrillas led by Elijah V. White. However, it turned out that the Chantilly Mansion was actually burned down at the hands of drunk federal troops.
Following the war, in 1865, Cornelia Stuart needed to borrow $5,000, and Chantilly was used, again, for collateral. When she died in 1883, Cornelia was still deeply in debt, and Chantilly farm was sold to repay her debts to George W. Powell, who purchased the 127 acre farm and its four remaining tenement houses and barn in 1888. The Powell’s kept Chantilly in the family until it was purchased by C. E. and Edith Hutcheson in 1943.
Although the village of Chantilly had grown steadily after the installation of Little River Turnpike in the 19th century, the largest population boom came after the construction of the Dulles International Airport. When the site was selected by President Dwight D. Eisenhower in 1958, the 87 predominately African-American owned homes in the community of Willard were condemned and demolished, and the airport was constructed. The Chantilly community as we know it now began development in the 1980’s in the farmland adjacent to the airport as suburban and commercial areas were built over the next four decades.
Guide to the Chateau de Chantilly
Though France has plenty of Chateaux that impress, wow and take your breath away – some are more special than others. The Chateau de Chantilly in Picardy, a short journey from the centre of Paris, is one of them…
Potted history of the Chateau of Chantilly
Castles have stood for many centuries on the site where the current Chateau de Chantilly stands today. Surrounded by lakes and forests, it’s surprising to know that it’s just 55km from the centre of Paris. Several prominent families have been the owners including Constable Anne de Montmorency, companion to Francois I, the Renaissance King of France, creator of the Chateau de Chambord. Montmorency, like many nobles of the day, followed the King’s Renaissance style and had the medieval castle updated, constructing the Petit Chateau, today the oldest part of the castle.
Eventually it passed to Charlotte de Montmorency, wife of Henri II de Bourbon, Prince of Condé. Their son, Louis II de Bourbon, known as ‘the Grand Condé’, organised a courtly life in Chantilly that rivalled Versailles, with magnificent balls and huge fireworks displays. The dinners he held were legendary. In 1671 he organised a three-day extravaganza to honour Louis XIV managed by his steward Francois Vatel. When a delivery failed to arrive, the second disaster during the feast, the overwrought steward committed suicide thereby creating one of the best known dinners in French history.
Grand stables and updates
The Great Stables were built in 1719 for the hunt-loving Duke de Bourbon. The town of Chantilly got an upgrade by the same architect. The Grand Chateau was destroyed in 1799. The last of the Bourbon-Condé family was beheaded on the orders of Napoleon Bonaparte in 1804 and the castle passed to Henri d’Orleans, Duke d’Aumale and son of King Louis-Philippe in 1830.
He rebuilt the Grand Chateau in 1857 to house his vast collection of art and treasures. He was known to the be greatest collector of his time. When he died he left the entire domaine to the State. The Condé museum opened to the public in 1898. And little has changed since then. And that makes this Chateau an absolute treasure.
Inside the Chateau of Chantilly
Some of the world’s great paintings can be seen at Chantilly from works by Botticelli to Raphael, Van Dyke and Watteau, Delacroix and Titian. Royal portraiture, Italian, Dutch, French and Renaissance paintings vie for attention. Wonderful stained glass, tapestries and books including a copy of the famous Tres Riches Heures of Jean, Duc de Berry are held here (though you can’t see this precious, fragile book but a digital version is available).
Visit the apartment of the Duke and his wife, filled with paintings, furnishings and artefacts. It’s incredible to think that if the Duke, who died in 1897, was to return he would recognise the rooms, the places where the paintings are hung, the furniture, his favourite reading chair. The Chateau is a snapshot of a long gone time, exquisitely and sumptuously decorated and beautifully preserved.
In Vatel’s former kitchens there is now a restaurant. Another restaurant is open in the grounds during spring to autumn months. At both you can try the famous Chantilly cream, said to have been invented in the castle kitchens. Take it from me – it tastes better there than anywhere!
The Gardens of Chantilly
The gardens cover a stonking 115 hectares. Several themes can be seen from the French-style garden created by Andre Le Notre in the 17th century to the Anglo-Chinese Garden in the 18th century and the English Garden in the 19th century. There are statues and grottoes, lakes and a hamlet reminiscent of Marie Antoinette’s hamlet at Versailles. In fact it’s claimed this is what inspired the queen. It’s a brilliant garden for strolling with shaded walkways and secret paths.
You can take a boat ride, see peacocks, take a Segway or electric cart ride and watch the horses exercising.
The Great Stables of Chantilly
The Great Stables of Chantilly are mind-bogglingly beautiful. They are a chateau in their own right with stunning architectural details. Today the building houses the Museum of the Horse – surely the horse-loving Duke de Bourbon would have approved. Paintings, artwork, books and horse paraphernalia fill the rooms.
Visit the stables and meet the horses in their seriously impressive rooms. Equestrian shows are held year round. Combining poetry, acrobatics and humour, the horse team put on an awe-inspiring dressage display beneath a 28 metre high majestic dome in the Great Stables. It is a magnificent performance of horsemanship and the bond between man and horse.
I’d recommend you allow a whole day for the visit – there’s a lot to fall in love with.
How to get to the Chateau Chantilly from Paris
The Chateau de Chantilly is in the department of Picardy, region Hauts-de-France. From Gare du Nord take an overland regional train to Chantilly-Gouvieux. It takes a little over 20 minutes. From here it’s a 25-minute stroll to the château through the pretty town. Or you can take the no. 15 bus towards Senlis and get off at the “Chantilly, église Notre-Dame” stop or wait for the free, but infrequent shuttle bus DUC (Cantilian Urban Service). The bus stop is outside the station. Taxis take about 5 minutes and you can also hire bikes at the station. Check the Chateau de Chantilly website (below) for access details year round.
Top tip: pick up a round trip ticket from Gare du Nord covering travel and entry to all of Chantilly’s attractions at a special price. At Gare du Nord purchase the “Pack TER Domaine de Chantilly” ticket.
1. Steven F. Udvar-Hazy Air and Space Center
Source: Photo by user Craigboy used under CC BY-SA 3.0
Experience unprecedented access to top air and space information and hands-on exhibits, at the Steven F. Udvar-Hazy Air and Space Center! The sister facility to the existing Smithsonian National Air and Space Museum in the National Mall of Washington, DC, this site delivers all of the thrill, excitement, and educational insight that the DC touts. At the Chantilly location, knowledgeable experts, a constantly changing host of interactive sights, and a thoroughly interesting subject matter combine with affordable entrance and group rates make for a visit that will prove as exciting as it will informative.
Since 2003, the massive hangars on site at the Chantilly Steven F. Udvar-Hazy Air and Space Center have hosted thousands upon thousands of unique exhibits, some aviation-focused, others space-centered, and many a combination of all things airborne! There&rsquos also an IMAX Theater and the Donald D. Engen Observation Tower to check out! At the Steven F. Udvar-Hazy Air and Space Center, it&rsquos space-centered enterprise as you&rsquod like it!
Steven F. Udvar-Hazy Air and Space Center
Address: 14390 Air and Space Museum Pkwy, Chantilly, VA 20151
Website: Steven F. Udvar-Hazy Air and Space Center
Travel tip by Chantilly Local Expert - John
If you are an air and space fan, this is the museum for you as it is the Smithsonian's largest air and space facility. This museum, which is also free, boasts the full-length space shuttle Discovery, an SR-71 Blackbird, the Enola Gay, and many other large aircraft! While there is paid parking on site, the museum is also accessible via the silver line on Metro. The museum also makes a great place to visit if you are on a long layover at Dulles International Airport as a regular bus service runs between the two locations. Just make sure you leave enough time to go back through security at the airport.
AFFAIR AT Ox Hill OR CHANTILLY. - History
Located just 25 miles north of Paris, the Domaine de Chantilly is one of the most spectacular examples of French cultural and architectural heritage. Its rich historical fabric spans from the 14th to the end of the 19th century, when it opened to the public as a museum.
Chantilly was the ancestral home of the prestigious Montmorency and Bourbon-Condé dynasties. The Petit Château was built for Constable Anne de Montmorency, childhood friend and loyal companion in arms to King Francis I, in the French Renaissance style. In the late 17 th century, Prince Louis II de Bourbon-Condé – known as the Grand Condé – commissioned the formal gardens from André Le Nôtre and held festivities so extraordinary that Chantilly rivaled the court of Versailles. The 18 th century brought numerous additions and enhancements including the majestic Great Stables (Grandes Écuries), the rustic Hamlet, and the neoclassical Château d’Enghien.
In 1830, Henri d’Orléans, Duke d’Aumale and son of King Louis-Philippe,inherited the Domaine de Chantilly and devoted his life to its reconstruction, restoration and embellishment. Upon his death in 1897, the Duke bequeathed to the Institut de France a considerable legacy comprising castles, gardens and parks, and the Great Stables.List of site sources >>>