Seeing Europe with Famous Authors Volume III Part 1

Seeing Europe with Famous Authors.

Volume 3.

by Various.

Part One

Introduction to Volumes III and IV

France and the Netherlands

The tourist bound for France lands either at Cherbourg, Havre, or Boulogne. At Cherbourg, he sees waters in which the "Kearsarge" sank the "Alabama"; at Havre a shelter in which, long before Caesar came to Gaul, ships, with home ports on the Seine, sought safety from the sea; and at Boulogne may recall the invading expedition to England, planned by Napoleon, but which never sailed.

From the Roman occupation, many Roman remains have survived in England, but these are far inferior in numbers and in state of preservation to the Roman remains found in France. Ma.r.s.eilles was not only an important Roman seaport, but its earliest foundations date perhaps from Phoenician times, and certainly do from the age when Greeks were building temples at Paestum and Girgenti. Rome got her first foothold in Ma.r.s.eilles as a consequence of the Punic wars; and in 125 B.C. acquired a province (Provincia Romana) reaching from the Alps to the Rhone, and southward to the sea, with Aix as its first capital and Arles its second. Caesar in 58 B.C. found on the Seine a tribe of men called Parisii, whose chief village, Lutetia, stood where now rises Notre Dame.

Lutetia afterward became a residence of Roman emperors. Constantius Chlorus spent some time there, guarding the empire from Germans and Britons, while Julian the Apostate built there for himself a palace and extensive baths, of which remains still exist in Paris. In that palace afterward lived Pepin le Bref ("mayor of the palace"), son of Charles Martell, and father of the great Charles. Romans built there an amphitheater seating ten thousand people, of which remains are still visible.

Lyons was a great Roman city. Augustus first called it into vigorous life, his wish being to make it "a second Rome." From Lyons a system of roads ran out to all parts of Gaul. Claudius was born there; Caligula made it the political and intellectual capital of Provincia; its people, under an edict of Caracalla, were made citizens of Rome. At Nimes was born the Emperor Antoninus. In Gaul, Galba, Otho, Vitellius, Vespasian and Domitian were made emperors. At Arles and Nimes are Roman amphitheaters still regularly put to use for combats between men and wild beasts--but the wild beasts, instead of lions and tigers, are bulls. At Orange is a Roman theater of colossal proportions, in which a company from the Theatre Francais annually presents cla.s.sical dramas. The magnificent fortress city of Carca.s.sonne has foundation walls that were laid by Romans. Notre Dame of Paris occupies the site of a temple to Jupiter.

As with modern England, so with modern France; its people are a mixture of many races. To the southwest, in a remote age, came Iberians from Spain, to Provence, Ligurians from Italy; to the northeast, Germanic tribes; to the northwest, Scandinavians; to the central parts, from the Seine to the Garonne, in the sixth century B.C., Gauls, who soon became the dominant race, and so have remained until this day, masterful and fundamental. When Caesar came, there had grown up in Gaul a martial n.o.bility, leaders of a warlike people, with chieftains whose names are familiar in the mouths and ears of all schoolboys--Aricvistus and Vercingetorix. When Vercingetorix was overthrown at Alesia, Gaul became definitely Roman. For five hundred years it remained loyal to Rome. Within its borders, was established the Pax Romana, and in 250 A.D., under St. Denis, Christianity. When the disintegration of the empire set in five centuries afterward, Gaul was among the first provinces to suffer. With the coming of the Visigoths and Huns from the Black Sea, the Pranks and Bnrgundians from beyond the Rhine, the Roman fall was near, but great battles were first fought in Gaul, battles which rivaled those of Caesar five centuries before. Greatest of all these was the one with Attila, at Chalons, in 451, where thousands perished.

When the Roman dominion ended, Rome's one great province in Gaul became seventeen small princ.i.p.alities, and power drifted fast into the hands of a warlike aristocracy. Then a strong man rose in Clovis, who, in 508, made Lutetia his capital, his successors enriching and adorning it. From these beginnings, has been evolved, in twelve hundred years, the great modern state--through Charlemagne and his empire-building, Louis XI. and his work of consolidating feudal princ.i.p.alities into one strong state, through a Hundred Years' War, fierce wars of religion, a long line of Bourbon kings, with their chateaux-building in Touraine and Versailles, the Revolution of 1789, the Napoleonic era, the Republic. An historical land surely is this, and a beautiful land, with her snow-capped mountains of the southeast, her broad vineyards, unrivaled cathedrals, her Roman remains, ancient olive groves, her art, her literature, her people.

Belgium and Holland were included in the territory known to Rome as Gaul.

Here dwelt a people called the Belgii, and another called the Nervii--that tribal nation whom Caesar "overcame" on a summer's day, and the same evening, "in his tent," "put on" the mantle that was pierced afterward by daggers in the Senate House. From these lands came the skilled Batavian cavalry, which followed Caesar in pursuit of Pompey and forced Pompey's flight at Pharsalia. From here afterward came other Batavians, who served as the Imperial Guard of Rome from Caasar's time to Vespasian's. In race, as in geographical position, the Netherlands have belonged in part to France, in part to Germany, the interior long remaining Gallic, the frontier Teutonic. From Caesar's time down to the fifth century, the land was Roman. Afterward, in several periods, it was in part, or in whole, included in the domain of France--in Charlemagne's time and after; under Louis XI., who sought, somewhat unsuccessfully, its complete submission; under Louis XIV., who virtually conquered it; under the French Revolution, and during Napoleon's ascendency. On Belgium soil Marlborough fought and won Ramillies, and Wellington Waterloo.

Belgium and Holland were for long great centers of European commerce--at Bruges, Ghent, Antwerp, Rotterdam, Amsterdam--rivals of English ports, Holland an ancient adversary of England and her valiant enemy in great wars. A still fiercer struggle came with Spain. Perhaps an even greater conflict than these two has been her never-ending war with the sea.

Holland has been called a land enclosed in a fortress reared against the sea. For generations her people have warred with angry waves; but, as Motley has said, they gained an education for a struggle "with the still more savage despotism of man." Let me not forget here Holland's great school of art--comparable only to that of Spain, or even to that of Italy.

F. W. H.

I

PARIS

The City Beautiful

By Anne Warwick

[Footnote: From "The Meccas of the World." By permission of the publisher, John Lane. Copyright, 1913.]

The most prejudiced will not deny that Paris is beautiful; or that there is about her streets and broad, tree-lined avenues a graciousness at once dignified and gay. Stand, as the ordinary tourist does on his first day, in the flowering square before the Louvre; in the foreground are the fountains and bright tulip-bordered paths of the Tuileries--here a glint of gold, there a soft flash of marble statuary, shining through the trees; in the center the round lake where the children sail their boats. Beyond spreads the wide sweep of the Place de la Concorde, with its obelisk of terrible significance, its larger fountains throwing brilliant jets of spray; and then the trailing, upward vista of the Champs Elysees to the great triumphal arch; yes, even to the most indifferent, Paris is beautiful.

To the subtler of appreciation, she is more than beautiful; she is impressive. For behind the studied elegance of architecture, the elaborate simplicity of garden, the carefully lavish use of sculpture and delicate spray, is visible the imagination of a race of pa.s.sionate creators--the imagination, throughout, of the great artist. One meets it at every turn and corner, down dim pa.s.sageways, up steep hills, across bridges, along sinuous quays; the masterhand and its "infinite capacity for taking pains." And so marvelously do its manifestations of many periods through many ages combine to enhance one another that one is convinced that the genius of Paris has been perennial; that St. Genevieve, her G.o.dmother, bestowed it as an immortal gift when the city was born.

From earliest days every man seems to have caught the spirit of the man who came before, and to have perpetuated it; by adding his own distinctive yet always harmonious contribution to the gradual development of the whole. One built a stately avenue; another erected a church at the end; a third added a garden on the other side of the church, and terraces leading up to it; a fourth and fifth cut streets that should give from the remaining two sides into other flowery squares with their fine edifices.

And so from every viewpoint, and from every part of the entire city, to-day we have an unbroken series of vistas--each one different and more charming than the last.

History has lent its hand to the process, too; and romance--it is not an insipid chain of flowerbeds we have to follow, but the holy warriors of Saint Louis, the roistering braves of Henry the Great, the gallant Bourbons, the ill-starred Bonapartes. These as they pa.s.sed have left their monuments; it may be only in a crumbling old chapel or ruined tower, but there they are, eloquent of days that are dead, of a spirit that lives forever staunch in the heart of the fervent French people.

It comes over one overwhelmingly sometimes, in the midst of the careless gaiety of the modern city, the old, ever-burning spirit of rebellion and savage strife that underlies it all, and that can spring to the surface now on certain memorable days, with a vehemence that is terrifying. Look across the Pont Alexandre, at the serene gold dome of the Invalides, surrounded by its sleepy barracks. Suddenly you are in the fires and awful slaughter of Napoleon's wars. The flower of France is being pitilessly cut down for the l.u.s.t of one man's ambition; and when that is spent, and the wail of the widowed country pierces heaven with its desolation, a costly asylum is built for the handful of soldiers who are left--and the great Emperor has done his duty!

Or you are walking through the Cite, past the court of the Palais de Justice. You glance in, carelessly--memory rushes upon you--and the court flows with blood, "so that men waded through it, up to the knees!" In the tiny stone-walled room yonder, Marie Antoinette sits disdainfully composed before her keepers; tho her face is white with the sounds she hears, as her friends and followers are led out to swell that hideous river of blood.

A pretty, artificial city, Paris; good for shopping, and naughty amus.e.m.e.nts, now and then. History? Oh yes, of course; but all that's so dry and uninspiring, and besides it happened so long ago.

Did it? In your stroll along the Rue Royale, among the jewellers' and milliners' shops and Maxim's, glance up at the Madeleine, down at the obelisk in the Place de la Concorde. Little over a hundred years ago, this was the brief distance between life and death for those who one minute were dancing in the "Temple of Victory," the next were laying their heads upon the block of the guillotine.

Notre-Dame

By Victor Hugo

[Footnote: From Hugo's "Notre-Dame de Paris." Translated by A.L. Alger. By permission of Dana, Estes & Co. Copyright, 1888.]

The church of Notre-Dame at Paris is doubtless still a sublime and majestic building. But, much beauty as it may retain in its old age, it is not easy to repress a sigh, to restrain our anger, when we mark the countless defacements and mutilations to which men and time have subjected that venerable monument, without respect for Charlemagne, who laid its first stone, or Philip Augustus, who laid its last....

Upon the face of this aged queen of French cathedrals, beside every wrinkle we find a scar. "Tempus edax, h.o.m.o edacior;" which I would fain translate thus: "Time is blind, but man is stupid." Had we leisure to study with the reader, one by one, the various marks of destruction graven upon the ancient church, the work of Time would be the lesser, the worse that of Men, especially of "men of art," since there are persons who have styled themselves architects during the last two centuries.

And first of all, to cite but a few glaring instances, there are a.s.suredly few finer pages in the history of architecture than that facade where the three receding portals with their pointed arches, the carved and denticulated plinth with its twenty-eight royal niches, the huge central rose-window flanked by its two lateral windows as is the priest by his deacon and subdeacon, the lofty airy gallery of trifoliated arcades supporting a heavy platform upon its slender columns, and lastly the two dark and ma.s.sive towers with their pent-house roofs of slate, harmonious parts of a magnificent whole, one above the other, five gigantic stages, unfold themselves to the eye, clearly and as a whole, with their countless details of sculpture, statuary, and carving, powerfully contributing to the calm grandeur of the whole; as it were, a vast symphony in stone; the colossal work of one man and one nation, one and yet complex, like the Iliad and the old Romance epics, to which it is akin; the tremendous sum of the joint contributions of all the force of an entire epoch, in which every stone reveals, in a hundred forms, the fancy of the workman disciplined by the genius of the artist--a sort of human creation, in brief, powerful and prolific as the Divine creation, whose double characteristics, variety and eternity, it seems to have acquired.

And what we say of the facades, we must also say of the whole church; and what we say of the cathedral church of Paris must be said of all the Christian churches of the Middle Ages. Everything is harmonious which springs from spontaneous, logical, and well-proportioned art. To measure a toe, is to measure the giant.

Let us return to the facade of Notre-Dame as we see it at the present day, when we make a pious pilgrimage to admire the solemn and mighty cathedral, which, as its chroniclers declare, inspires terror. This facade now lacks three important things: first, the eleven steps which formerly raised it above the level of the ground; next, the lower series of statues which filled the niches over the doors; and lastly, the upper row of the twenty- eight most ancient kings of France, which adorned the gallery of the first story, from Childebert down to Philip Augustus, each holding in his hand "the imperial globe."

The stairs were destroyed by Time, which, with slow and irresistible progress, raised the level of the city's soil; but while this flood-tide of the pavements of Paris swallowed one by one the eleven steps which added to the majestic height of the edifice, Time has perhaps given to the church more than it took away, for it is Time which has painted the front with that sober hue of centuries which makes the antiquity of churches their greatest beauty.

But who pulled down the two rows of statues? Who left those empty niches?

Who carved that new and b.a.s.t.a.r.d pointed arch in the very center of the middle door? Who dared to insert that clumsy, tasteless, wooden door, carved in the style of Louis XV., side by side with the arabesques of Biscornette? Who but men, architects, the artists of our day?

And if we step into the interior of the edifice, who overthrew that colossal figure of Saint Christopher, proverbial among statues by the same right as the great hall of the palace among halls, as the spire of Strasburg among steeples? And those myriad statues which peopled every s.p.a.ce between the columns of the choir and the nave, kneeling, standing, on horseback, men, women, children, kings, bishops, men-at-arms--of stone, of marble, of gold, of silver, of copper, nay even of wax--who brutally swept them away? It was not the hand of Time.

And who replaced the old Gothic altar, with its splendid burden of shrines and reliquaries, by that heavy marble sarcophagus adorned with clouds and cherubs, looking like a poor copy of the Val-de-Grace or the Hotel des Invalides? Who was stupid enough to fasten that clumsy stone anachronism into the Carlovingian pavement of Hercandus? Was it not Louis XIV., fulfilling the vow of Louis XIII.?

And who set cold white panes in place of that stained gla.s.s of gorgeous hue, which led the wondering gaze of our fathers to roam uncertain 'twixt the rose-window of the great door and the ogives of the chancel? And what would a precentor of the sixteenth century say if he could see the fine coat of yellow wash with which our Vandal archbishops have smeared their cathedral? He would remember that this was the color with which the executioner formerly painted those buildings judged "infamous;" he would recall the hotel of the Pet.i.t-Bourbon, bedaubed with yellow in memory of the Constable's treason; "a yellow of so fine a temper," says Sauval, "and so well laid on, that more than a hundred years have failed to wash out its color." He would fancy that the sacred spot had become accursed, and would turn and flee.