The fountains of Versailles, the "Grands Eaux" and "Petits Eaux," which shoot their jets in air "semi-occasionally" for the benefit of Paris's "good papas" and their children, are distinctly popular features, and of an artistic worth neither less nor greater than most garden accessories of the artificial order. The fact that it costs something like ten thousand francs to "play" these fountains seems to be the chief memory which one retains of them in operation, unless it be the crowds which make the going and coming so uncomfortable. The Orangerie lies just below the terrace of the Parterre du Midi, and a thousand or more non-bearing orange trees are scattered about. They are descendants of fifteenth century ancestors, it is claimed--but doubtfully. The great basin of water known as the Eaux des Suisses was excavated by the Swiss Guard of Louis XIV to serve the useful purpose of irrigating the Potager du Roy, and as a decorative effect of great value to that part of the garden upon which faces the fourteen-hundred-foot front of the palace. Still farther off towards the Bois de Satory, after crossing the Tapis Vert, lie the famous Bassins de Latone and Apollon, the Bassin du Miroir and, finally, the Grand Canal, with one transverse branch leading to the Menagerie (now the government stud-farm) and the other to the Trianons. The satellite palaces known as the Grand and Petit Trianons are, like the Palace of Versailles itself, of such an abounding historical interest that it were futile to attempt more than a mere intimation of their comparative rank and aspect. The rather sprawling, one-story, horseshoe-shaped villa built by Louis XIV for Madame de Maintenon, and known as the Grand Trianon, was an architectural conception of Mansart's. It is worth remarking that the Grand Trianon, to-day, is in a more nearly perfect state than it has been for long past, for the restorations lately made have removed certain interpolations manifestly out of place. It is due to M. de Nolhac, the Conservateur du Musee de Versailles, that this happy amelioration has been brought about and that Mansart's admirable work is again as it was in the days of Madame de Maintenon and those of the later Napoleon I. [Illustration: _The Fountain of Neptune, Versailles_] In spite of all this the Trianon of to-day is not what it was in the eighteenth century. "Madame de Maintenon," said de Musset, "made of Versailles an oratory, but La Pompadour turned it into a boudoir." He also called the Trianon: "a tiny chateau of porcelain." It was, too, the boudoir of Madame de Montespan. Louis XV, too, built, or furnished, discreet boudoirs of this order on every hand. More than one great gallery in which his elders had done big things he divided and subdivided into minute apartments and papered the walls, or painted them, all colours of the rainbow, or hung them with silks or velvets.