The building of this château, distant about four leagues from Paris, had been one of the principal amusements of the wealthy marshal, during his seasons of forced leisure, when the sunshine of royal favour had deserted him. The architect employed upon it was Jean Bullant, who afterwards enjoyed the patronage of Cathurine de Medici, and assisted in the building of the Tuilleries. Of the work contributed by Palissy towards the decoration of the château, nothing remains in the present day but the beautiful pavement in the chapel and galleries. Much time was employed by him in the painting and enamelling of the decorated tiles which compose this pavement. The designs were all his own, of subjects taken by him from the Scriptures, very highly finished, and so admirably arranged and contrived as to give to the whole a surprisingly rich effect of beautiful colouring, surpassing, it is said, that of the finest turkey carpeting. In one part of the sacristy the passion of our Lord was represented upon pottery, in sixteen pictures, in a single frame, copied from the designs of Albert Durer, by the hand of Palissy. Of this piece, and of another painted by him on glass, representing the history of Psyche, after the designs of Raffaelle, there remain only representations upon paper. {58} Of all the windows of Écouen, Palissy is also said to have been the painter; nor must we omit to mention that in a grove of the garden there was formerly a fountain, called “_Fontaine Madame_,” to which was attached a rustic grotto, of which Palissy always spoke with pride, as one of the chief triumphs of his handiwork. His skill and ingenuity were exerted in the adornment of the grotto; and the rock from whence the cascade fell was a grand specimen of his painted pottery. Figures of frogs and fishes were placed in and about the water, lizards were upon the rock, and serpents were coiled upon the grass. And, that devout thoughts might be awakened in the breasts of those who came to enjoy the sweets of this pleasant retreat, its pious artificer had contrived that on a rustic frieze, should be inscribed in a mosaic, formed with various coloured stones, the text we have chosen as the motto of this chapter. “HO, EVERY ONE THAT THIRSTETH, COME YE TO THE WATERS.” Probably the formation of the fountain, and the arrangements made for its supply, were suggested by Palissy, whose acute observation in the study of nature had, by that time, led him to the discovery of the true theory of springs. “I have had no other book than heaven and earth, which are open to all,” he was wont to say, and upon all subjects connected with the study of that marvellous volume, Palissy was assuredly far in advance of the men of his time. He delighted in grottoes and fountains of waters, and his inquiry into the sources of natural fountains conducted him to the true solution of an enigma which baffled all the skill of Descartes. {60}