A Little Tour in France Part 3

XV.

If I spent two nights at Nantes, it was for reasons of convenience rather than of sentiment; though, in- deed, I spent them in a big circular room which had a stately, lofty, last-century look, - a look that con- soled me a little for the whole place being dirty. The high, old-fashioned, inn (it had a huge, windy _porte- cochere_, and you climbed a vast black stone staircase to get to your room) looked out on a dull square, sur- rounded with other tall houses, and occupied on one side by the theatre, a pompous building, decorated with columns and statues of the muses. Nantes be- longs to the cla.s.s of towns which are always spoken of as "fine," and its position near the mouth of the Loire gives it, I believe, much commercial movement.

It is a s.p.a.cious, rather regular city, looking, in the parts that I traversed, neither very fresh nor very venerable. It derives its princ.i.p.al character from the handsome quays on the Loire, which are overhung with tall eighteenth-century houses (very numerous, too, in the other streets), - houses, with big _entresols_ marked by arched windows, cla.s.sic pediments, balcony- rails of fine old iron-work. These features exist in still better form at Bordeaux; but, putting Bordeaux aside, Nantes is quite architectural. The view up and down the quays has the cool, neutral tone of color that one finds so often in French water-side places, - the bright grayness which is the tone of French land- scape art. The whole city has rather a grand, or at least an eminently well-established air. During a day pa.s.sed in it of course I had time to go to the Musee; the more so that I have a weakness for provincial museums, - a sentiment that depends but little on the quality of the collection. The pictures may be bad, but the place is often curious; and, indeed, from bad pictures, in certain moods of the mind, there is a degree of entertainment to be derived. If they are tolerably old they are often touching; but they must have a relative antiquity, for I confess I can do no- thing with works of art of which the badness is of receat origin. The cool, still, empty chambers in which indifferent collections are apt to be preserved, the red brick tiles, the diffused light, the musty odor, the mementos around you of dead fashions, the snuffy custodian in a black skull cap, who pulls aside a faded curtain to show you the l.u.s.treless gem of the museum, - these things have a mild historical quality, and the sallow canvases after all ill.u.s.trate something.

Many of those in the museum of Nantes ill.u.s.trate the taste of a successful warrior; having been bequeathed to the city by Napoleon's marshal, Clarke (created Duc de Feltre). In addition to these there is the usual number of specimens of the contemporary French school, culled from the annual Salons and presented to the museum by the State. Wherever the traveller goes, in France, he is reminded of this very honorable practice, - the purchase by the Government of a cer- tain number of "pictures of the year," which are pre- sently distributed in the provinces. Governments suc- ceed each other and bid for success by different devices; but the "patronage of art" is a plank, as we should say here, in every platform. The works of art are often ill-selected, - there is an official taste which you immediately recognize, - but the custom is essen- tially liberal, and a government which should neglect it would be felt to be painfully common. The only thing in this particular Musee that I remember is a fine portrait of a woman, by Ingres, - very flat and Chinese, but with an interest of line and a great deal of style.

There is a castle at Nantes which resembles in some degree that of Angers, but has, without, much less of the impressiveness of great size, and, within, much more interest of detail. The court contains the remains of a very fine piece of late Gothic, a tall ele- gant building of the sixteenth century. The chateau is naturally not wanting in history. It was the residence of the old Dukes of Brittany, and was brought, with the rest of the province, by the d.u.c.h.ess Anne, the last representative of that race, as her dowry, to Charles VIII. I read in the excellent hand-book of M. Joanne that it has been visited by almost every one of the kings of France, from Louis XI. downward; and also that it has served as a place of sojourn less voluntary on the part of various other distinguished persons, from the horrible Merechal de Retz, who in the fifteenth century was executed at Nantes for the murder of a couple of hundred young children, sacrificed in abomin- able rites, to the ardent d.u.c.h.ess of Berry, mother of the Count of Chambord, who was confined there for a few hours in 1832, just after her arrest in a neigh- boring house. I looked at the house in question - you may see it from the platform in front of the chateau - and tried to figure to myself that embarra.s.sing scene.

The d.u.c.h.ess, after having unsuccessfully raised the standard of revolt (for the exiled Bourbons), in the legitimist Bretagne, and being "wanted," as the phrase is, by the police of Louis Philippe, had hidden herself in a small but loyal house at Nantes, where, at the end of five months of seclusion, she was betrayed, for gold, to the austere M. Guizot, by one of her servants, an Alsatian Jew named Deutz. For many hours before her capture she had been compressed into an inter- stice behind a fireplace, and by the time she was drawn forth into the light she had been ominously scorched. The man who showed me the castle in- dicated also another historic spot, a house with little _tourelles_, on the Quai de la Fosse, in which Henry IV.

is said to have signed the Edict of Nantes. I am, however, not in a position to answer for this pedigree.

There is another point in the history of the fine old houses which command the Loire, of which, I sup- pose, one may be tolerably sure; that is, their having, placid as they stand there to-day, looked down on the horrors of the Terror of 1793, the b.l.o.o.d.y reign of the monster Carrier and his infamous _noyades_. The most hideous episode of the Revolution was enacted at Nantes, where hundreds of men and women, tied to- gether in couples, were set afloat upon rafts and sunk to the bottom of the Loire. The tall eighteenth-century house, full of the _air n.o.ble_, in France always reminds me of those dreadful years, - of the street-scenes of the Revolution. Superficially, the a.s.sociation is incongru- ous, for nothing could be more formal and decorous than the patent expression of these eligible residences.

But whenever I have a vision of prisoners bound on tumbrels that jolt slowly to the scaffold, of heads car- ried on pikes, of groups of heated _citoyennes_ shaking their fists at closed coach-windows, I see in the back- ground the well-ordered features of the architecture of the period, - the clear gray stone, the high pilasters, the arching lines of the _entresol_, the cla.s.sic pediment, the slate-covered attic. There is not much architecture at Nantes except the domestic. The cathedral, with a rough west front and stunted towers, makes no im- pression as you approach it. It is true that it does its best to recover its reputation as soon as you have pa.s.sed the threshold. Begun in 1434 and finished about the end of the fifteenth century, as I discover in Murray, it has a magnificent nave, not of great length, but of extraordinary height and lightness. On the other hand, it has no choir whatever. There is much entertainment in France in seeing what a cathedral will take upon itself to possess or to lack; for it is only the smaller number that have the full complement of features. Some have a very fine nave and no choir; others a very fine choir and no nave. Some have a rich outside and nothing within; others a very blank face and a very glowing heart. There are a hundred possibilities of poverty and wealth, and they make the most unexpected combinations.

The great treasure of Nantes is the two n.o.ble se- pulchral monuments which occupy either transept, and one of which has (in its n.o.bleness) the rare distinction of being a production of our own time. On the south side stands the tomb of Francis II., the last of the Dukes of Brittany, and of his second wife, Margaret of Foix, erected in 1507 by their daughter Anne, whom we have encountered already at the Chateau de Nantes, where she was born; at Langeais, where she married her first husband; at Amboise, where she lost him; at Blois, where she married her second, the "good"

Louis XII., who divorced an impeccable spouse to make room for her, and where she herself died. Trans- ferred to the cathedral from a demolished convent, this monument, the masterpiece of Michel Colomb, author of the charming tomb of the children of Charles VIII. and the aforesaid Anne, which we admired at Saint Gatien of Tours, is one of the most brilliant works of the French Renaissance. It has a splendid effect, and is in perfect preservation. A great table of black marble supports the reclining figures of the duke and d.u.c.h.ess, who lie there peacefully and majestically, in their robes and crowns, with their heads each on a cushion, the pair of which are supported, from behind, by three, charming little kneeling angels; at the foot of the quiet couple are a lion and a greyhound, with heraldic devices. At each of the angles of the table is a large figure in white marble of a woman elaborately dressed, with a symbolic meaning, and these figures, with their contemporary faces and clothes, which give them the air of realistic portraits, are truthful and liv- ing, if not remarkably beautiful. Round the sides of the tomb are small images of the apostles. There is a kind of masculine completeness in the work, and a certain robustness of taste.

In nothing were the sculptors of the Renaissance more fortunate than in being in advance of us with their tombs: they have left us noting to say in regard to the great final contrast, - the contrast between the immobility of death and the trappings and honors that survive. They expressed in every way in which it was possible to express it the solemnity, of their conviction that the Marble image was a part of the personal greatness of the defunct, and the protection, the re- demption, of his memory. A modern tomb, in com- parison, is a sceptical affair; it insists too little on the honors. I say this in the face of the fact that one has only to step across the cathedral of Nantes to stand in the presence of one of the purest and most touching of modern tombs. Catholic Brittany has erected in the opposite transept a monument to one of the most devoted of her sons, General de Lamoriciere, the de- fender of the Pope, the vanquished of Castelfidardo.

This n.o.ble work, from the hand of Paul Dubois, one of the most interesting of that new generation of sculp- tors who have revived in France an art of which our overdressed century had begun to despair, has every merit but the absence of a certain prime feeling. It is the echo of an earlier tune, - an echo with a beauti- ful cadence. Under a Renaissance canopy of white marble, elaborately worked with arabesques and che- rubs, in a relief so low that it gives the work a cer- tain look of being softened and worn by time, lies the body of the Breton soldier, with, a crucifix clasped to his breast and a shroud thrown over his body. At each of the angles sits a figure in bronze, the two best of which, representing Charity and Military Courage, had given me extraordinary pleasure when they were exhibited (in the clay) in the Salon of 1876. They are admirably cast, and they have a certain greatness: the one, a serene, robust young mother, beautiful in line and att.i.tude; the other, a lean and vigilant young man, in a helmet that overshadows his serious eyes, resting an outstretched arm, an admirable military member, upon the hilt of a sword. These figures con- tain abundant a.s.surance that M. Paul Dubois has been attentive to Michael Angelo, whom we have all heard called a splendid example but a bad model. The visor-shadowed face of his warrior is more or less a reminiscence of the figure on the tomb of Lorenzo de'

Medici at Florence; but it is doubtless none the worse for that. The interest of the work of Paul Dubois is its peculiar seriousness, a kind of moral good faith which is not the commonest feature of French art, and which, united as it is in this case with exceeding knowledge and a remarkable sense of form, produces an impression, of deep refinement. The whole monu- ment is a proof of exquisitely careful study; but I am not sure that this impression on the part of the spec- tator is altogether a happy one. It explains much of its great beauty, and it also explains, perhaps, a little of a certain weakness. That word, however, is scarcely in place; I only mean that M. Dubois has made a vi- sible effort, which has been most fruitful. Simplicity is not always strength, and our complicated modern genius contains treasures of intention. This fathomless modern element is an immense charm on the part of M. Paul Dubois. I am lost in admiration of the deep aesthetic experience, the enlightenment of taste, re- vealed by such work. After that, I only hope that Giuseppe Garibaldi may have a monument as fair.

XVI.

To go from Nantes to La Roch.e.l.le you travel straight southward, across the historic _bocage_ of La Vendee, the home of royalist bush-fighting. The country, which is exceedingly pretty, bristles with copses, orchards, hedges, and with trees more spread- ing and st.u.r.dy than the traveller is apt to deem the feathery foliage of France. It is true that as I pro- ceeded it flattened out a good deal, so that for an hour there was a vast featureless plain, which offered me little entertainment beyond the general impression that I was approaching the Bay of Biscay (from which, in reality, I was yet far distant). As we drew near La Roch.e.l.le, however, the prospect brightened con- siderably, and the railway kept its course beside a charming little ca.n.a.l, or ca.n.a.lized river, bordered with trees, and with small, neat, bright-colored, and yet old-fashioned cottages and villas, which stood back on the further side, behind small gardens, hedges, painted palings, patches of turf. The whole effect was Dutch and delightful; and in being delightful, though not in being Dutch, it prepared me for the charms of La Roch.e.l.le, which from the moment I entered it I perceived to be a fascinating little town, a most original mixture of brightness and dulness.

Part of its brightness comes from its being extra- ordinarily clean, - in which, after all, it _is_ Dutch; a virtue not particularly noticeable at Bourges, Le Mans, and Angers. Whenever I go southward, if it be only twenty miles, I begin to look out for the south, pre- pared as I am to find the careless grace of those lati- tudes even in things of which it may, be said that they may be south of something, but are not southern.

To go from Boston to New York (in this state of mind) is almost as soft a sensation as descending the Italian side, of the Alps; and to go from New York to Philadelphia is to enter a zone of tropical luxuriance and warmth. Given this absurd disposition, I could not fail to flatter myself, on reaching La Roch.e.l.le, that I was already in the Midi, and to perceive in everything, in the language of the country, the _ca- ractere meridional._ Really, a great many things had a hint of it. For that matter, it seems to me that to arrive in the south at a bound - to wake up there, as it were - would be a very imperfect pleasure. The full pleasure is to approach by stages and gradations; to observe the successive shades of difference by which it ceases to be the north. These shades are exceedingly fine, but your true south-lover has an eye for them all. If he perceive them at New York and Philadelphia, - we imagine him boldly as liberated from Boston, - how could he fail to perceive them at La Roch.e.l.le? The streets of this dear little city are lined with arcades, - good, big, straddling arcades of stone, such as befit a land of hot summers, and which recalled to me, not to go further, the dusky portions of Bayonne. It contains, moreover, a great wide _place d'armes_, which looked for all the world like the piazza of some dead Italian town, empty, sunny, gra.s.s-grown, with a row of yellow houses overhanging it, an unfrequented cafe, with a striped awning, a tall, cold, florid, uninteresting cathedral of the eighteenth century on one side, and on the other a shady walk, which forms part of an old rampart. I followed this walk for some time, under the stunted trees, beside the gra.s.s-covered bastions; it is very charming, wind- ing and wandering, always with trees. Beneath the rampart is a tidal river, and on the other side, for a long distance, the mossy walls of the immense garden of a seminary. Three hundred years ago, La Roch.e.l.le was the great French stronghold of Protestantism; but to-day it appears to be a'nursery of Papists.

The walk upon the rampart led me round to one of the gatesi of the town, where I found some small modern, fortifications and sundry red-legged soldiers, and, beyond the fortifications, another shady walk, - a _mail_, as the French say, as well as a _champ de manoeuvre_, - on which latter expanse the poor little red-legs were doing their exercise. It was all very quiet and very picturesque, rather in miniature; and at once very tidy and a little out of repair. This, however, was but a meagre back-view of La Roch.e.l.le, or poor side-view at best. There are other gates than the small fortified aperture just mentioned; one of them, an old gray arch beneath a fine clock-tower, I had pa.s.sed through on my way from the station.

This picturesque Tour de l'Horloge separates the town proper from the port; for beyond the old gray arch, the place presents its bright, expressive little face to the sea. I had a charming walk about the harbor, and along the stone piers and sea-walls that shut it in. This indeed, to take things in their order, was after I had had my breakfast (which I took on arriv- ing) and after I had been to the _hotel de ville_. The inn had a long narrow garden behind it, with some very tall trees; and pa.s.sing through this garden to a dim and secluded _salle a manger_, buried in the heavy shade, I had, while I sat at my repast, a feeling of seclusion which amounted almost to a sense of in- carceration. I lost this sense, however, after I had paid my bill, and went out to look for traces of the famous siege, which is the princ.i.p.al t.i.tle of La Roch.e.l.le to renown. I had come thither partly because I thought it would be interesting to stand for a few moments in so gallant a spot, and partly because, I confess, I had a curiosity to see what had been the starting-point of the Huguenot emigrants who founded the town of New Roch.e.l.le in the State of New York, a place in which I had pa.s.sed certain memorable hours. It was strange to think, as I strolled through the peaceful little port, that these quiet waters, during the wars of religion, had swelled with a formidable naval power. The Rochelais had fleets and admirals, and their stout little Protestant bottoms carried de- fiance up and down.

To say that I found any traces of the siege would be to misrepresent the taste for vivid whitewash by which La Roch.e.l.le is distinguished to-day. The only trace is the dent in the marble top of the table on which, in the _hotel de ville_, Jean Guiton, the mayor of the city, brought down his dagger with an oath, when in 1628 the vessels and regiments of Richelieu closed about it on sea and land. This terrible functionary was the soul of the resistance; he held out from February to October, in the midst of pestilence and famine. The whole episode has a brilliant place among the sieges of history; it has been related a hundred times, and I may only glance at it and pa.s.s.

I limit my ambition, in these light pages, to speaking of those things of which I have personally received an impression; and I have no such impression of the defence of La Roch.e.l.le. The hotel de ville is a pretty little building, in the style of the Renaissance of Francis I.; but it has left much of its interest in the hands of the restorers. It has been "done up"

without mercy; its natural place would be at Roch.e.l.le the New. A sort of battlemented curtain, flanked with turrets, divides it from the street and contains a low door (a low door in a high wall is always felicitous), which admits you to an inner court, where you discover the face of the building. It has statues set into it, and is raised upon a very low and very deep arcade. The princ.i.p.al function of the deferential old portress who conducts you over the place is to call your attention to the indented table of Jean Guiton; but she shows you other objects of interest besides.

The interior is absolutely new and extremely sump- tuous, abounding in tapestries, upholstery, morocco, velvet, satin. This is especially the case with a really beautiful _grande salle_, where, surrdunded with the most expensive upholstery, the mayor holds his official receptions. (So at least, said my worthy portress.) The mayors of La Roch.e.l.le appear to have changed a good deal since the days of the grim Guiton; but these evidences of munic.i.p.al splendor are interesting for the light they throw on French manners. Imagine the mayor of an English or an American town of twenty thousand inhabitants holding magisterial soirees in the town-hall! The said _grande salle_, which is un- changed in form and its larger features, is, I believe, the room in which the Rochelais debated as to whether they should shut themselves up, and decided in the affirmative. The table and chair of Jean Guiton have been restored, Iike everything else, and are very elegant and coquettish pieces of furniture, - incongruous relics of a season of starvation and blood. I believe that Protestantism is somewhat shrunken to-day at La Roch.e.l.le, and has taken refuge mainly in. the _haute societe_ and in a single place of worship. There was nothing particular to remind me of its supposed austerity as, after leaving the hotel de ville, I walked along the empty portions and cut out of the Tour de l'Horloge, which I have already mentioned. If I stopped and looked up at this venerable monument, it was not to ascertain the hour, for I foresaw that I should have more time at La Roch.e.l.le than I knew what to do with; but because its high, gray, weather-beaten face was an obvious subject for a sketch.

The little port, which has two basins, and is ac- cessible only to vessels of light tonnage, had a certain gayety and as much local color as you please. Fisher folk of pictuesque type were strolling about, most of them Bretons; several of the men with handsome, simple faces, not at all brutal, and with a splendid brownness, - the golden-brown color, on cheek and beard, that you see on an old Venetian sail. It was a squally, showery day, with sudden drizzles of sun- shine; rows of rich-toned fishing-smacks were drawn up along the quays. The harbor is effective to the eye by reason of three battered old towers which, at different points, overhang it and look infinitely weather- washed and sea-silvered. The most striking of these, the Tour de la Lanterne, is a big gray ma.s.s, of the fifteenth century, flanked with turrets and crowned with a Gothic steeple. I found it was called by the people of the place the Tour des Quatre Sergents, though I know not what connection it has with the touching history of the four young sergeants of the garrison of La Roch.e.l.le, who were arrested in 1821 as conspirators against the Government of the Bour- bons, and executed, amid general indignation, in Paris in the following year. The quaint little walk, with its label of Rue sur les Murs, to which one ascends from beside the Grosse Horloge, leads to this curious Tour de la Lanterne and pa.s.ses under it. This walk has the top of the old town-wall, toward the sea, for a parapet on one side, and is bordered on the other with decent but irregular little tenements of fishermen, where brown old women, whose caps are as white as if they were painted, seem chiefly in possession. In this direction there is a very pretty stretch of sh.o.r.e, out of the town, through the fortifications (which are Vauban's, by the way); through, also, a diminutive public garden or straggling shrubbery, which edges the water and carries its stunted verdure as far as a big Etablissernent des Bains. It was too late in the year to bathe, and the Etabliss.e.m.e.nt had the bank- rupt aspect which belongs to such places out of the season; so I turned my back upon it, and gained, by a circuit in the course of which there were sundry water-side items to observe, the other side of the cheery little port, where there is a long breakwater and a still longer sea-wall, on which I walked awhile, to inhale the strong, salt breath of the Bay of Biscay.

La Roch.e.l.le serves, in the months of July and August, as a _station de bains_ for a modest provincial society; and, putting aside the question of inns, it must be charming on summer afternoons.

XVII.

It is an injustice to Poitiers to approach her by night, as I did some three hours after leaving La Roch.e.l.le; for what Poitiers has of best, as they would say at Poitiers, is the appearance she presents to the arriving stranger who puts his head out of the window of the train. I gazed into the gloom from such an aperture before we got into the station, for I re- membered the impression received on another occa- sion; but I saw nothing save the universal night, spotted here and there with an ugly railway lamp.

It was only as I departed, the following day, that I a.s.sured myself that Poitiers still makes something of the figure she ought on the summit of her consider- able bill. I have a kindness for any little group of towers, any cl.u.s.ter of roofs and chimneys, that lift themselves from an eminence over which a long road ascends in zigzags; such a picture creates for the mo- ment a presumption that you are in Italy, and even leads you to believe that if you mount the winding road you will come to an old town-wall, an expanse of creviced brownness, and pa.s.s under a gateway sur- mounted by the arms of a mediaeval despot. Why I should find it a pleasure, in France, to imagine my- self in Italy, is more than I can say; the illusion has never lasted long enough to be a.n.a.lyzed. From the bottom of its perch Poitiers looks large and high; and indeed, the evening I reached it, the interminiable climb of the omnibus of the hotel I had selected, which I found at the station, gave me the measure of its commanding position. This hotel, "magnifique construction ornee de statues," as the Guide-Joanne, usually so reticent, takes the trouble to announce, has an omnibus, and, I suppose, has statues, though I didn't perceive them; but it has very little else save immemorial acc.u.mulations of dirt. It is magnificent, if you will, but it is not even relatively proper; and a dirty inn has always seemed to me the dirtiest of human things, - it has so many opportunities to betray itself.

Poiters covers a large s.p.a.ce, and is as crooked and straggling as you please; but these advantages are not accompanied with any very salient features or any great wealth of architecture. Although there are few picturesque houses, however, there are two or three curious old churches. Notre Dame la Grande, in the market-place, a small romanesque structure of the twelfth century, has a most interesting and venerable exterior. Composed, like all the churches of Poitiers, of a light brown stone with a yellowish tinge, it is covered with primitive but ingenious sculptures, and is really an impressive monument. Within, it has lately been daubed over with the most hideous decorative painting that was ever inflicted upon pa.s.sive pillars and indifferent vaults. This battered yet coherent little edifice has the touching look that resides in everything supremely old: it has arrived at the age at which such things cease to feel the years; the waves of time have worn its edges to a kind of patient dul- ness; there is something mild and smooth, like the stillness, the deafness, of an octogenarian, even in its rudeness of ornament, and it has become insensible to differences of a century or two. The cathedral interested me much less than Our Lady the Great, and I have not the spirit to go into statistics about it.

It is not statistical to say that the cathedral stands half-way down the hill of Poitiers, in a quiet and gra.s.s-grown _place_, with an approach of crooked lanes and blank garden-walls, and that its most striking dimension is the width of its facade. This width is extraordinary, but it fails, somehow, to give n.o.bleness to the edifice, which looks within (Murray makes the remark) like a large public hall. There are a nave and two aisles, the latter about as high as the nave; and there are some very fearful modern pictures, which you may see much better than you usually see those specimens of the old masters that lurk in glow- ing side-chapels, there being no fine old gla.s.s to dif- fuse a kindly gloom. The sacristan of the cathedral showed me something much better than all this bright bareness; he led me a short distance out of it to the small Temple de Saint-Jean, which is the most curious object at Poitiers. It is an early Christian chapel, one of the earliest in France; originally, it would seem, - that is, in the sixth or seventh century, - a bap- tistery, but converted into a church while the Christian era was still comparatively young. The Temple de Saint-Jean is therefore a monument even more vener- able than Notre Dame la Grande, and that numbness of age which I imputed to Notre Dame ought to reside in still larger measure in its crude and colorless little walls. I call them crude, in spite of their having been baked through by the centuries, only because, although certain rude arches and carvings are let into them, and they are surmounted at either end with a small gable, they have (so far as I can remember) little fascination of surface. Notre Dame is still ex- pressive, still pretends to be alive; but the Temple has delivered its message, and is completely at rest.

It retains a kind of atrium, on the level of the street, from which you descend to the original floor, now un- covered, but buried for years under a false bottom.

A semicircular apse was, apparently at the time of its conversion into a church, thrown out from the east wall. In the middle is the cavity of the old baptismal font. The walls and vaults are covered with traces of extremely archaic frescos, attributed, I believe, to the twelfth century. These vague, gaunt, staring fragments of figures are, to a certain extent, a reminder of some of the early Christian churches in Rome; they even faintly recalled to me the great mosaics of Ravenna. The Temple de Saint-Jean has neither the antiquity nor the completeness of those extraordinary monuments, nearly the most impressive in Europe; but, as one may say, it is very well for Poitiers.

Not far from it, in a lonely corner which was ani- mated for the moment by the vociferations of several old, women who were selling tapers, presumably for the occasion of a particular devotion, is the graceful romanesque church erected in the twelfth century to Saint Radegonde, - a lady who found means to be a saint even in the capacity of a Merovingian queen.

It bears a general resemblance to Notre Dame la Grande, and, as I remember it, is corrugated in some- what the same manner with porous-looking carvings; but I confess that what I chiefly recollect is the row of old women sitting in front of it, each with a tray of waxen tapers in her lap, and upbraiding me for my neglect of the opportunity to offer such a tribute to the saint. I know not whether this privilege is oc- casional or constant; within the church there was no appearance of a festival, and I see that the name- day of Saint Radegonde occurs in August, so that the importunate old women sit there always, perhaps, and deprive of its propriety the epithet I just applied to this provincial corner. In spite of the old women, however, I suspect that the place is lonely; and in- deed it is perhaps the old women that have made the desolation.

The lion of Poitiers, in the eyes of the natives, is doubtless the Palais de Justice, in the shadow of which the statue-guarded hotel, just mentioned, erects itself; and the gem of the court-house, which has a prosy modern front, with pillars and a high flight of steps, is the curious _salle des pas perdus_, or central hall, out of which the different tribunals open. This is a feature of every French court-house, and seems the result of a conviction that a palace of justice - the French deal in much finer names than we - should be in some degree palatial. The great hall at Poitiers has a long pedigree, as its walls date back to the twelfth century, and its open wooden roof, as well as the remarkable trio of chimney-pieces at the right end of the room as you enter, to the fifteenth. The three tall fireplaces, side by side, with a delicate gallery running along the top of them, const.i.tute the originality of this ancient chamber, and make one think of the groups that must formerly have gathered there, - of all the wet boot-soles, the trickling doublets, the stiffened fingers, the rheumatic shanks, that must have been presented to such an incomparable focus of heat. To-day, I am afraid, these mighty hearts are forever cold; justice it probably administered with the aid of a modern _calorifere_, and the walls of the palace are perforated with regurgitating tubes. Behind and above the gallery that surmounts the three fireplaces are high Gothic windows, the tracery of which masks, in some sort, the chimneys; and in each angle of this and of the room to the right and left of the trio of chimneys, is all open-work spiral staircase, ascending to - I forget where; perhaps to the roof of the edifice.

This whole side of the _salle_ is very lordly, and seems to express an unstinted hospitality, to extend the friendliest of all invitations, to bid the whole world come and get warm. It was the invention of John, Duke of Berry and Count of Poitou, about 1395. I give this information on the authority of the Guide- Joanne, from which source I gather much other curious learning; for instance, that it was in this building, when it had surely a very different front, that Charles VII.

was proclaimed king, in 1422; and that here Jeanne Darc was subjected, in 1429, to the inquisition of certain doctors and matrons.

The most charming thing at Poitiers is simply the Promenade de Blossac, - a small public garden at one end of the flat top of the hill. It has a happy look of the last century (having been arranged at that period), and a beautiful sweep of view over the sur- rounding country, and especially of the course of the little river Clain, which winds about a part of the base of the big mound of Poitiers. The limit of this dear little garden is formed, on the side that turns away from the town, by the rampart erected in the fourteenth century, and by its big semicircular bastions. This rampart, of great length, has a low parapet; you look over it at the charming little vegetable-gardens with which the base of the hill appears exclusively to be garnished. The whole prospect is delightful, especially the details of the part just under the walls, at the end of the walk. Here the river makes a shining twist, which a painter might have invented, and the side of the hill is terraced into several ledges, - a sort of tangle of small blooming patches and little pavillions with peaked roofs and green shutters. It is idle to attempt to reproduce all this in words; it should be reproduced only in water-colors. The reader, how- ever, will already have remarked that disparity in these ineffectual pages, which are pervaded by the attempt to sketch without a palette or brushes. He will doubtless, also, be struck with the grovelling vision which, on such a spot as the ramparts of Poitiers, peoples itself with carrots and cabbages rather than with images of the Black Prince and the captive king.

I am not sure that in looking out from the Promenade de Blossac you command the old battle-field; it is enough that it was not far off, and that the great rout of Frenchmen poured into the walls of Poitiers, leav- ing on the ground a number of the fallen equal to the little army (eight thousand) of the invader. I did think of the battle. I wondered, rather helplessly, where it had taken place; and I came away (as the reader will see from the preceding sentence) without finding out. This indifference, however, was a result rather of a general dread of military topography than of a want of admiration of this particular victory, which I have always supposed to be one of the most brilliant on record. Indeed, I should be almost ashamed, and very much at a loss, to say what light it was that this glorious day seemed to me to have left forever on the horizon, and why the very name of the place had always caused my blood gently to tingle.

It is carrying the feeling of race to quite inscrutable lengths when a vague American permits himself an emotion because more than five centuries ago, on French soil, one rapacious Frenchman got the better of another. Edward was a Frenchman as well as John, and French were the cries that urged each of the hosts to the fight. French is the beautiful motto graven round the image of the Black Prince, as he lies forever at rest in the choir of Canterbury: _a la mort ne pensai-je mye_. Nevertheless, the victory of Poitiers declines to lose itself in these considerations; the sense of it is a part of our heritage, the joy of it a part of our imagination, and it filters down through centuries and migrations till it t.i.tillates a New Yorker who forgets in his elation that he happens at that moment to be enjoying the hospitality of France. It was something done, I know not how justly, for Eng- land; and what was done in the fourteenth century for England was done also for New York.

XVIII.

If it was really for the sake of the Black Prince that I had stopped at Poitiers (for my prevision of Notre Dame la Grande and of the little temple of St.

John was of the dimmest), I ought to have stopped at Angouleme for the sake of David and Eve Sechard, of Lucien de Rubempre and of Madame de Bargeton, who when she wore a _toilette etudiee_ sported a Jewish turban ornamented with an Eastern brooch, a scarf of gauze, a necklace of cameos, and a robe of "painted muslin," whatever that may be; treating herself to these luxuries out of an income of twelve thousand francs. The persons I have mentioned have not that vagueness of ident.i.ty which is the misfortune of his- torical characters; they are real, supremely real, thanks to their affiliation to the great Balzac, who had invented an artificial reality which was as much better than the vulgar article as mock-turtle soup is than the liquid it emulates. The first time I read "Les Illusions Perdues"

I should have refused to believe that I was capable of pa.s.sing the old capital of Anjou without alighting to visit the Houmeau. But we never know what we are capable of till we are tested, as I reflected when I found myself looking back at Angouleme from the window of the train, just after we had emerged from the long tunnel that pa.s.ses under the town. This tunnel perforates the hill on which, like Poitiers, Angouleme rears itself, and which gives it an eleva- tion still greater than that of Poitiers. You may have a tolerable look at the cathedral without leaving the railway-carriage; for it stands just above the tunnel, and is exposed, much foreshortened, to the spectator below. There is evidently a charming walk round the plateau of the town, commanding those pretty views of which Balzac gives an account. But the train whirled me away, and these are my only impressions.

The truth is that I had no need, just at that moment, of putting myself into communication with Balzac; for opposite to me in the compartment were a couple of figures almost as vivid as the actors in the "Comedie Humaine." One of these was a very genial and dirty old priest, and the other was a reserved and concen- trated young monk, - the latter (by which I mean a monk of any kind) being a rare sight to-day in France.

This young man, indeed, was mitigatedly monastic.

He had a big brown frock and cowl, but he had also a shirt and a pair of shoes; he had, instead of a hempen scourge round his waist, a stout leather thong, and he carried with him a very profane little valise.

He also read, from beginning to end, the "Figaro"

which the old priest, who had done the same, presented to him; and he looked altogether as if, had he not been a monk, he would have made a distinguished officer of engineers. When he was not reading the "Figaro" he was conning his breviary or answering, with rapid precision and with a deferential but dis- couraging dryness, the frequent questions of his com- panion, who was of quite another type. This worthy had a bored, good-natured, unb.u.t.toned, expansive look; was talkative, restless, almost disreputably human.

He was surrounded by a great deal of small luggage, and had scattered over the carriage his books, his papers, the fragments of his lunch, and the contents of an extraordinary bag, which he kept beside him - a kind of secular reliquary - and which appeared to contain the odds and ends of a lifetime, as he took from it successively a pair of slippers, an old padlock (which evidently didn't belong to it), an opera-gla.s.s, a collection of almanacs, and a large sea-sh.e.l.l, which he very carefully examined. I think that if he had not been afraid of the young monk, who was so much more serious than he, he would have held the sh.e.l.l to his ear, like a child. Indeed, he was a very childish and delightful old priest, and his companion evidently thought him most frivolous. But I liked him the better of the two. He was not a country cure, but an eccle- siastic of some rank, who had seen a good deal both of the church and of the world; and if I too had not been afraid of his colleague, who read the "Figaro"

as seriously as if it had been an encyclical, I should have entered into conversation with him.

All this while I was getting on to Bordeaux, where I permitted myself to spend three days. I am afraid I have next to nothing to show for them, and that there would be little profit in lingering on this episode, which is the less to be justified as I had in former years examined Bordeaux attentively enough. It con- tains a very good hotel, - an hotel not good enough, however, to keep you there for its own sake. For the rest, Bordeaux is a big, rich, handsome, imposing com- mercial town, with long rows of fine old eighteenth- century houses, which overlook the yellow Garonne. I have spoken of the quays of Nantes as fine, but those of Bordeaux have a wider sweep and a still more architectural air. The appearance of such a port as this makes the Anglo-Saxon tourist blush for the sor- did water-fronts of Liverpool and New York, which, with their larger activity, have so much more reason to be stately. Bordeaux gives a great impression of prosperous industries, and suggests delightful ideas, images of prune-boxes and bottled claret. As the focus of distribution of the best wine in the world, it is in- deed a sacred city, - dedicated to the worship of Bacchus in the most discreet form. The country all about it is covered with precious vineyards, sources of fortune to their owners and of satisfaction to distant consumers; and as you look over to the hills beyond the Garonne you see them in the autumn sunshine, fretted with the rusty richness of this or that immortal _clos_. But the princ.i.p.al picture, within the town, is that of the vast curving quays, bordered with houses that look like the _hotels_ of farmers-general of the last cen- tury, and of the wide, tawny river, crowded with ship- ping and spanned by the largest of bridges. Some of the types on the water-side are of the sort that arrest a sketcher, - figures of stalwart, brown-faced Basques, such as I had seen of old in great numbers at Biarritz, with their loose circular caps, their white sandals, their air of walking for a wager. Never was a tougher, a harder race. They are not mariners, nor watermen, but, putting questions of temper aside, they are the best possible dock-porters. "Il s'y fait un commerce terrible," a _douanier_ said to me, as he looked up and down the interminable docks; and such a place has indeed much to say of the wealth, the capacity for production, of France, - the bright, cheerful, smokeless industry of the wonderful country which produces, above all, the agreeable things of life, and turns even its defeats and revolutions into gold. The whole town has an air of almost depressing opulence, an appear- ance which culminates in the great _place_ which sur- rounds the Grand-Theatre, - an establishment in the highest style, encircled with columns, arcades, lamps, gilded cafes. One feels it to be a monument to the virtue of the well-selected bottle. If I had not for- bidden myself to linger, I should venture to insist on this, and, at the risk of being considered fantastic, trace an a.n.a.logy between good claret and the best qualities of the French mind; pretend that there is a taste of sound Bordeaux in all the happiest manifes- tations of that fine organ, and that, correspondingly, there is a touch of French reason, French complete- ness, in a gla.s.s of Pontet-Canet. The danger of such an excursion would lie mainly in its being so open to the reader to take the ground from under my feet by saying that good claret doesn't exist. To this I should have no reply whatever. I should be unable to tell him where to find it. I certainly didn't find it at Bordeaux, where I drank a most vulgar fluid; and it is of course notorious that a large part of mankind is occupied in vainly looking for it. There was a great pretence of putting it forward at the Exhibition which was going on at Bordeaux at the time of my visit, an "exposition philomathique," lodged in a collection of big temporary buildings in the Allees d'Or1eans, and regarded by the Bordelais for the moment as the most brilliant feature of their city. Here were pyramids of bottles, mountains of bottles, to say nothing of cases and cabinets of bottles. The contemplation of these glittering tiers was of course not very convincing; and indeed the whole arrangement struck me as a high impertinence. Good wine is not an optical pleasure, it is an inward emotion; and if there was a chamber of degustation on the premises, I failed to discover it.

It was not in the search for it, indeed, that I spent half an hour in this bewildering bazaar. Like all "expositions," it seemed to me to be full of ugly things, and gave one a portentous idea of the quant.i.ty of rubbish that man carries with him on his course through the ages. Such an amount of luggage for a journey after all so short! There were no individual objects; there was nothing but dozens and hundreds, all machine-made and expressionless, in spite of the repeated grimace, the conscious smartness, of "the last new thing," that was stamped on all of them. The fatal facility, of the French _article_ becomes at last as irritating as the refrain of a popular song. The poor "Indiens Galibis" struck me as really more interesting, - a group of stunted savages who formed one of the attractions of the place, and were confined in a pen in the open air, with a rabble of people pushing and squeezing, hanging over the barrier, to look at them.

They had no grimace, no pretension to be new, no desire to catch your eye. They looked at their visitors no more than they looked at each other, and seemed ancient, indifferent, terribly bored.

XIX.

There is much entertainment in the journey through the wide, smiling garden of Gascony; I speak of it as I took it in going from Bordeaux to Toulouse. It is the south, quite the south, and had for the present narrator its full measure of the charm he is always determined to find in countries that may even by courtesy be said to appertain to the sun. It was, moreover, the happy and genial view of these mild lat.i.tudes, which, Heaven knows, often have a dreari- ness of their own; a land teeming with corn and wine, and speaking everywhere (that is, everywhere the phyl- loxera had not laid it waste) of wealth and plenty.

The road runs constantly near the Garonne, touching now and then its slow, brown, rather sullen stream, a sullenness that encloses great dangers and disasters.

The traces of the horrible floods of 1875 have dis- appeared, and the land smiles placidly enough while it waits for another immersion. Toulouse, at the period I speak of, was up to its middle (and in places above it) in water, and looks still as if it had been thoroughly soaked, - as if it had faded and shrivelled with a long steeping. The fields and copses, of course, are more forgiving. The railway line follows as well the charm- ing Ca.n.a.l du Midi, which is as pretty as a river, bar- ring the straightness, and here and there occupies the foreground, beneath a screen of dense, tall trees, while the Garonne takes a larger and more irregular course a little way beyond it. People who are fond of ca.n.a.ls - and, speaking from the pictorial standpoint, I hold the taste to be most legitimate - will delight in this admirable specimen of the cla.s.s, which has a very in- teresting history, not to be narrated here. On the other side of the road (the left), all the way, runs a long, low line of hills, or rather one continuous hill, or perpetual cliff, with a straight top, in the shape of a ledge of rock, which might pa.s.s for a ruined wall.

I am afraid the reader will lose patience with my habit of constantly referring to the landscape of Italy, as if that were the measure of the beauty of every other.

Yet I am still more afraid that I cannot apologize for it, and must leave it in its culpable nakedness. It is an idle habit; but the reader will long since have dis- covered that this was an idle journey, and that I give my impressions as they came to me. It came to me, then, that in all this view there was something trans- alpine with a greater smartness and freshness and much less elegance and languor. This impression was occasionally deepened by the appearance, on the long eminence of which I speak, of a village, a church, or a chateau, which seemed to look down at the plain from over the ruined wall. The perpetual vines, the bright-faced flat-roofed houses, covered with tiles, the softness and sweetness of the light and air, recalled the prosier portions of the Lombard plain. Toulouse itself has a little of this Italian expression, but not enough to give a color to its dark, dirty, crooked streets, which are irregular without being eccentric, and which, if it were not for the, superb church of Saint-Sernin, would be quite dest.i.tute of monuments.

I have already alluded to the way in which the names of certain places impose themselves on the mind, and I must add that of Toulouse to the list of expressive appellations. It certainly evokes a vision, - suggests something highly _meridional_. But the city, it must be confessed, is less pictorial than the word, in spite of the Place du Capitole, in spite of the quay of the Garonne, in spite of the curious cloister of the old museum. What justifies the images that are latent in the word is not the aspect, but the history, of the town. The hotel to which the well-advised traveller will repair stands in a corner of the Place du Capitole, which is the heart and centre of Toulouse, and which bears a vague and inexpensive resemblance to Piazza Castello at Turin. The Capitol, with a wide modern face, occupies one side, and, like the palace at Turin, looks across at a high arcade, under which the hotels, the princ.i.p.al shops, and the lounging citizens are gathered. The shops are probably better than the Turinese, but the people are not so good. Stunted, shabby, rather vitiated looking, they have none of the personal richness of the st.u.r.dy Piedmontese; and I will take this occasion to remark that in the course of a journey of several weeks in the French provinces I rarely encountered a well-dressed male. Can it be possible the republics are unfavorable to a certain attention to one's boots and one's beard? I risk this somewhat futile inquiry because the proportion of mens ???

coats and trousers seemed to be about the same in France and in my native land. It was notably lower than in England and in Italy, and even warranted the supposition that most good provincials have their chin shaven and their boots blacked but once a week.

I hasten to add, lest my observation should appear to be of a sadly superficial character, that the manners and conversation of these gentlemen bore (whenever I had occasion to appreciate them) no relation to the state of their chin and their boots. They were almost always marked by an extreme amenity. At Toulouse there was the strongest temptation to speak to people, simply for the entertainment of hearing them reply with that curious, that fascinating accent of the Languedoc, which appears to abound in final con- sonants, and leads the Toulousains to say _bien-g_ and _maison-g_, like Englishmen learning French. It is as if they talked with their teeth rather than with their tongue. I find in my note-book a phrase in regard to Toulouse which is perhaps a little ill-natured, but which I will transcribe as it stands: "The oddity is that the place should be both animated and dull. A big, brown-skinned population, clattering about in a flat, tortuous town, which produces nothing whatever that I can discover. Except the church of Saint- Sernin and the fine old court of the Hotel d'a.s.sezat, Toulouse has no architecture; the houses are for the most part of brick, of a grayish-red color, and have no particular style. The brick-work of the place is in fact very poor, - inferior to that of the north Italian towns, and quite wanting in the richness of tone which this homely material takes on in the damp climates of the north." And then my note-book goes on to narrate a little visit to the Capitol, which was soon made, as the building was in course of repair and half the rooms were closed.

XX.