tion and occupation was made by his grandfather King Charles X (1824–1830) but in 1830 both were exiled. In Outre-Mer: A Pilgrimage Beyond the Sea, published in the 1830s, Henry Wadsworth Longfellow remarked on the dilapidation that had set in: "all is mournful and deserted. The grass has overgrown the pavement of the courtyard, and the rude sculpture upon the walls is broken and defaced" During the Franco-Prussian War (1870–1871) the château was used as a field hospital.
The final attempt to make use of the colossus came from the Comte de Chambord but after the Comte died in 1883, the château was left to his sister's heirs, the titular Dukes of Parma, then resident in Austria. First left to Robert, Duke of Parma, who died in 1907 and after him, Elias, Prince of Parma. Any attempts at restoration ended with the onset of World War I in 1914. Château Chambord was confiscated as enemy property in 1915, but the family of the Duke of Parma sued to recover it, and that suit was not settled until 1932; restoration work was not begun until a few years after World War II ended in 1945.
In 1939, shortly before the outbreak of World War II, the art collections of the Louvre and Compiègne museums (including the Mona Lisa and Venus de Milo) were stored at the Château de Chambord. An American B-24 Liberator bomber crashed onto the château lawn on June 22, 1944. The image of the château has been widely used to sell commodities from chocolate to alcohol and from porcelain to alarm clocks; combined with the various written accounts of visitors, this made Chambord one of the best known examples of France's architectural history. Château Chambord was the inspiration for the Beast's castle in the 1991 animated Disney film Beauty and the Beast. Today, Chambord is a major tourist attraction and in 2007 around 700,000 people visited the château
