These performances took place at the Chateau of Pau, which Margaret and
her husband seem to have preferred to that of Nerac, though political
reasons often compelled them to fix their abode at the latter. Pau,
however, possessed the advantage of a mild climate, necessary for
Margaret's health, besides being delightfully situated on the Bearnese
Gave, the view from the chateau extending over a fertile valley limited
by the snow-capped Pyrenees. There had been a chateau at Pau as early
as the tenth century, but the oldest portions of the structure now
subsisting date from the time of Edward III., when Pau was the capital
of the celebrated Gaston-Phoebus. The chateau was considerably enlarged
and embellished in the fifteenth century, but it was not until after
Margaret's marriage with Henry d'Albret that the more remarkable
decorative work was executed. Upon leaving Nerac to reside at Pau,
Margaret summoned a number of Italian artists and confided the
embellishment of the chateau to them.(1)
It was not, however, merely the chateau which Margaret beautified
at Pau.
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