Azay-le-Rideau
I took a particular fancy to the roof, high, steep, old, with its slope of bluish slate, and the way the weather-worn chimneys seemed to grow out of it—living things in a deep soil. The single defect of the house is the blankness and bareness of its walls, which have none of that delicate parasitic deposit that agrees so well—to the eye—with the surface of old dwellings. It is true that this bareness results in a kind of silvery whiteness of complexion which carries out the tone of the quiet pools and even that of the scanty and shadeless park.
29
Langeais
I HARDLY know what to say about the tone of Langeais, which, though I have left it to the end of my sketch, formed the objective point of the first excursion I made from Tours. Langeais is rather dark and grey; it is perhaps the simplest and most severe of all the castles of the Loire. I don't know why I should have gone to see it before any other, unless it be because I remembered that Duchesse de Langeais who figures in several of Balzac's novels, and found this association very potent. The Duchesse de Langeais is a somewhat transparent fiction; but the castle from which Balzac borrowed the title of his heroine is an extremely solid fact. My doubt just above as to whether I should pronounce it exceptionally grey came from my having seen it under a sky which made most things look dark. I have, however, a very kindly memory of that moist and melancholy afternoon, which was much more autumnal than many of the days that followed it.
Langeais lies down the Loire, near the river, on the opposite side from Tours, and to go to it you will spend half an hour in the train. You pass on the way the Château de Luynes, which, with its round towers catching the afternoon light, looks uncommonly well on a hill at a distance; you pass also the ruins of the castle of Cinq-Mars, the ancestral dwelling of the young favourite of Louis XIII., the victim of Richelieu, the hero of Alfred de Vigny's novel, which is usually recommended to young ladies engaged in the study of French. Langeais is very imposing and decidedly sombre; it marks the transition from the architecture of defence to that of elegance. It rises, massive and perpendicular, out of the centre of the village to which it gives its name and which it entirely dominates; so that as you stand before it in the crooked and empty street there is no resource for you but to stare up at its heavy overhanging cornice and at the huge towers surmounted with extinguishers of slate. If you follow this street to the end, however, you encounter in abundance the usual embellishments of a French village: little ponds or tanks, with women on their knees on the brink, pounding and thumping a lump of saturated linen; brown old crones, the tone of whose facial hide makes their nightcaps (worn by day) look dazzling; little alleys perforating the thickness of a row of cottages and showing you behind, as a glimpse, the vividness of a green garden. In the rear of the castle rises a hill which must formerly have been occupied by some of its appurtenances and which indeed is still partly enclosed within its court. You may walk round this eminence, which, with the small houses of the village at its base, shuts in the castle from behind. The enclosure is not defiantly guarded, however; for a small, rough path, which you presently reach, leads up to anopen gate. This gate admits you to a vague and rather limitedparc, which covers the crest of the hill and through which you may walk into the gardens of the castle. These gardens, of small extent, confront the dark walls with their brilliant parterres and, covering the gradual slope of the hill, form, as it were, the fourth side of the court. This is the stateliest view of the structure, which looks to you sufficiently grim and grey as, after asking leave of a neat young woman who sallies out to learn your errand, you sit there on a garden bench and take the measure of the three tall towers attached to this inner front and forming severally the cage of a staircase. The huge bracketed cornice (one of the features of Langeais), which is merely ornamental, as it is not machicolated, though it looks so, is continued on the inner face as well. The whole thing has a fine feudal air, though it was erected on the ruins of feudalism.
TheLangeaismain event in the history of the castle is the marriage of Anne of Brittany to her first husband, Charles VIII., which took place in its great hall in 1491. Into this great hall we were introduced by the neat young woman—into this great hall and into sundry other halls, winding staircases, galleries, chambers. The cicerone of Langeais is in too great a hurry; the fact is pointed out in the excellent Guide-Joanne. This ill-dissimulated vice, however, is to be observed, in the country of the Loire, in every one who carries a key. It is true that at Langeais there is no great occasion to indulge in the tourist's weakness of dawdling; for the apartments, though they contain many curious odds and ends of antiquity, are not of first-rate interest. They are cold and musty indeed, with that touching smell of old furniture, as all apartments should be through whichthe insatiate American wanders in the rear of a bored domestic, pausing to stare at a faded tapestry or to read the name on the frame of some simpering portrait.
To return to Tours my companion and I had counted on a train which (as is not uncommon in France) existed only in the "Indicateur des Chemins de Fer;" and instead of waiting for another we engaged a vehicle to take us home. A sorrycarrioleorpatacheit proved to be, with the accessories of a lumbering white mare and a little wizened, ancient peasant, who had put on, in honour of the occasion, a new blouse of extraordinary stiffness and blueness. We hired the trap of an energetic woman, who put it "to" with her own hands; women in Touraine and the Blésois appearing to have the best of it in the business of letting vehicles, as well as in many other industries. There is, in fact, no branch of human activity in which one is not liable, in France, to find a woman engaged. Women, indeed, are not priests; but priests are, more or less, women. They are not in the army, it may be said but then theyarethe army. They are very formidable. In France one must count with the women. The drive back from Langeais to Tours was long, slow, cold; we had an occasional spatter of rain. But the road passes most of the way close to the Loire, and there was something in our jog-trot through the darkening land, beside the flowing river, which it was very possible to enjoy.
30
Loches
THE consequence of my leaving to the last my little mention of Loches is that space and opportunity fail me; and yet a brief and hurried account of that extraordinary spot would after all be in best agreement with my visit. We snatched a fearful joy, my companion and I, the afternoon we took the train for Loches. The weather this time had been terribly against us: again and again a day that promised fair became hopelessly foul after lunch. At last we determined that if we could not make this excursion in the sunshine we would make it with the aid of our umbrellas. We grasped them firmly and started for the station, where we were detained an unconscionable time by the evolutions, outside, of certain trains laden with liberated (and exhilarated) conscripts, who, their term of service ended, were about to be restored to civil life. The trains in Touraine are provoking; they
[Click to view image enlarged.]
serve as little as possible for excursions. If they convey you one way at the right hour, it is on the condition of bringing you back at the wrong; they either allow you far too little time to examine the castle or the ruin, or they leave you planted in front of it for periods that outlast curiosity. They are perverse, capricious, exasperating. It was a question of our having but an hour or two at Loches, and we could ill afford to sacrifice to accidents. One of the accidents, however, was that the rain stopped before we got there, leaving behind it a moist mildness of temperature and a cool and lowering sky which were in perfect agreement with the grey old city. Loches is certainly one of the greatest impressions of the traveller in central France—the largest cluster of curious things that presents itself to his sight. It rises above the valley of the Indre, the charming stream set in meadows and sedges, which wanders through the province of Berry and through many of the novels of Madame George Sand; lifting from the summit of a hill, which it covers to the base, a confusion of terraces, ramparts, towers, and spires. Having but little time, as I say, we scaled the hill amain and wandered briskly through this labyrinth of antiquities. The rain had decidedly stopped and, save that we had our train on our minds, we saw Loches to the best advantage. We enjoyed that sensation with which the conscientious tourist is—or ought to be—well acquainted and for which, at any rate, he has a formula in his rough-and-ready language. We "experienced," as they say (most irregular of verbs), an "agreeable disappointment." We were surprised and delighted; we had for some reason suspected that Loches was scarce good.
I hardly know what is best there: the strange andimpressive little collegial church, with its romanesque atrium or narthex, its doorways covered with primitive sculpture of the richest kind, its treasure of a so-called pagan altar embossed with fighting warriors, its three pyramidal domes, so unexpected, so sinister, which I have not met elsewhere in church architecture; or the huge square keep of the eleventh century—the most cliff-like tower I remember, whose immeasurable thickness I did not penetrate; or the subterranean mysteries of two other less striking but not less historic dungeons, into which a terribly imperative little cicerone introduced us, with the aid of downward ladders, ropes, torches, warnings, extended hands, and many fearful anecdotes—all in impervious darkness. These horrible prisons of Loches, at an incredible distance below daylight, enlivened the consciousness of Louis XI. and were for the most part, I believe, constructed by him. One of the towers of the castle is garnished with the hooks or supports of the celebrated iron cage in which he confined the Cardinal La Balue, who survived so much longer than might have been expected this extraordinary mixture of seclusion and exposure. All these things form part of the castle of Loches, whose enormousenceintecovers the whole of the top of the hill and abounds in dismantled gateways, in crooked passages, in winding lanes that lead to postern doors, in long façades that look upon terraces interdicted to the visitor, who perceives with irritation that they command magnificent views. These views are the property of the sub-prefect of the department, who resides at the Château de Loches and who has also the enjoyment of a garden—a garden compressed and curtailed, as those of old castles that perch on hill-tops are apt to be—containing a horse-chestnut tree of fabulous size,
32LOCHES—THE CHURCH[Click to view image enlarged.]
a tree of a circumference so vast and so perfect that the whole population of Loches might sit in concentric rows beneath its boughs. The gem of the place, however, is neither the bigmarronier, nor the collegial church, nor the mighty dungeon, nor the hideous prisons of Louis XI.; it is simply the tomb of Agnes Sorel,la belle des belles, so many years the mistress of Charles VII. She was buried in 1450, in the collegial church, whence, in the beginning of the present century, her remains, with the monument that marks them, were transferred to one of the towers of the castle. She has always, I know not with what justice, enjoyed a fairer fame than most ladies who have occupied her position, and this fairness is expressed in the delicate statue that surmounts her tomb. It represents her lying there in lovely demureness, her hands folded with the best modesty, a little kneeling angel at either side of her head, and her feet, hidden in the folds of her decent robe, resting upon a pair of couchant lambs, innocent reminders of her name. Agnes, however, was not lamb-like, inasmuch as, according to popular tradition at least, she exerted herself sharply in favour of the expulsion of the English from France. It is one of the suggestions of Loches that the young Charles VII., hard put to it as he was for a treasury and a capital—"le roi de Bourges," he was called at Paris—was yet a rather privileged mortal, to stand up as he does before posterity between the noble Joan and thegentille Agnes; deriving, however, much more honour from one of these companions than from the other. Almost as delicate a relic of antiquity as this fascinating tomb is the exquisite oratory of Anne of Brittany, among the apartments of the castle the only chamber worthy of note. This small room, hardly larger than a closet, andforming part of the addition made to the edifice by Charles VIII., is embroidered over with the curious and remarkably decorative device of the ermine and festooned cord. The objects in themselves are not especially graceful, but the constant repetition of the figure on the walls and ceiling produces an effect of richness in spite of the modern whitewash with which, if I remember rightly, they have been endued. The little streets of Loches wander crookedly down the hill and are full of charming pictorial "bits:" an old town-gate, passing under a medieval tower, which is ornamented by Gothic windows and the empty niches of statues; a meagre but delicatehotel de villeof the Renaissance nestling close beside it; a curiouschancellerieof the middle of the sixteenth century, with mythological figures and a Latin inscription on the front—both of these latter buildings being rather unexpected features of the huddled and precipitous little town. Loches has a suburb on the other side of the Indre, which we had contented ourselves with looking down at from the heights while we wondered whether, even if it had not been getting late and our train were more accommodating, we should care to take our way across the bridge and look up that bust in terra-cotta of Francis I. which is the principal ornament of the Château de Sansac and the faubourg of Beaulieu. I think we decided that we should not, that we had already often measured the longest nose in history.
Bourges
I KNOW not whether the exact limits of an excursion as distinguished from a journey have ever been fixed; at any rate, it seemed none of my business at Tours to settle the question. Therefore, though the making of excursions had been the purpose of my stay, I thought it vain, while I started for Bourges, to determine to which category that little expedition might belong. It was not till the third day that I returned to Tours; and the distance, traversed for the most part after dark, was even greater than I had supposed. That, however, was partly the fault of a tiresome wait at Vierzon, where I had more than enough time to dine, very badly, at thebuffetand to observe the proceedings of a family who had entered my railway carriage at Tours and had conversed unreservedly, for my benefit, all the way from that station—a family whom it entertained me to assign to the class ofpetite noblesse de province. Their noble originwas confirmed by the way they all "mademaigre" in the refreshment-room (it happened to be a Friday), as if it had been possible to do anything else. They ate two or three omelets apiece and ever so many little cakes, while the positive, talkative mother watched her children as the waiter handed about the roast fowl. I was destined to share the secrets of this family to the end; for while I took my place in the empty train that was in waiting to convey us to Bourges the same vigilant woman pushed them all on top of me into my compartment, though the carriages on either side contained no travellers at all. It was better, I found, to have dined (even on omelets and little cakes) at the station at Vierzon than at the hotel at Bourges, which, when I reached it at nine o'clock at night, did not strike me as the prince of hotels. The inns in the smaller provincial towns in France are all, as the term is, commercial, and thecommis-voyageuris in triumphant possession. I saw a great deal of him for several weeks after this; for he was apparently the only traveller in the southern provinces, and it was my daily fate to sit opposite to him at tables d'hôte and in railway trains. He may be known by two infallible signs—his hands are fat and he tucks his napkin into his shirt-collar. In spite of these idiosyncrasies, he seemed to me a reserved and inoffensive person, with singularly little of the demonstrative good-humour that he has been described as possessing. I saw no one who reminded me of Balzac's "illustre Gaudissart;" and indeed in the course of a month's journey through a large part of France I heard so little desultory conversation that I wondered whether a change had not come over the spirit of the people. They seemed to me as silent as Americans when Americans have not been "introduced,"and infinitely less addicted to exchanging remarks in railway trains and at tables d'hôte than the colloquial and cursory English; a fact perhaps not worth mentioning were it not at variance with that reputation which the French have long enjoyed of being a pre-eminently sociable nation. The common report of the character of a people is, however, an indefinable product, and is apt to strike the traveller who observes for himself as very wide of the mark. The English, who have for ages been described (mainly by the French) as the dumb stiff, unapproachable race, present to-day a remarkable appearance of good-humour and garrulity and are distinguished by their facility of intercourse. On the other hand, any one who has seen half-a-dozen Frenchmen pass a whole day together in a railway-carriage without breaking silence is forced to believe that the traditional reputation of these gentlemen is simply the survival of some primitive formula. It was true, doubtless, before the Revolution; but there have been great changes since then. The question of which is the better taste, to talk to strangers or to hold your tongue, is a matter apart; I incline to believe that the French reserve is the result of a more definite conception of social behaviour. I allude to it only because it is at variance with the national fame and at the same time compatible with a very easy view of life in certain other directions. On some of these latter points the Boule d'Or at Bourges was full of instruction; boasting as it did of a hall of reception in which, amid old boots that had been brought to be cleaned, old linen that was being sorted for the wash, and lamps of evil odour that were awaiting replenishment, a strange, familiar, promiscuous household life went forward. Small scullions in white caps and aprons sleptupon greasy benches; the Boots sat staring at you while you fumbled, helpless, in a row of pigeon-holes, for your candlestick or your key; and, amid the coming and going of thecommis-voyageurs, a little sempstress bent over the under-garments of the hostess—the latter being a heavy, stern, silent woman, who looked at people very hard.
Bourges: the Cathedral
It was not to be looked at in that manner that one had come all the way from Tours; so that within ten minutes after my arrival I sallied out into the darkness to form somehow and somewhere a happier relation. However late in the evening I may arrive at a place, I never go to bed without my impression. The natural place at Bourges to look for it seemed to be the cathedral; which, moreover, was the only thing that could account for my presencedans cette galère. I turned out of a small square in front of the hotel and walked up a narrow, sloping street paved with big, rough stones and guiltless of a footway. It was a splendid starlight night; the stillness of a sleepingville de provincewas over everything; I had the whole place to myself. I turned to my right, at the top of the street, where presently a short, vague lane brought me into sight of the cathedral. I approached it obliquely, from behind; it loomed up in the darkness above me enormous and sublime. It stands on the top of the large but not lofty eminence over which Bourges is scattered—a very good position as French cathedrals go, for they are not all so nobly situated as Chartres and Laon. On the side on which I approached it (the south) it is tolerably well exposed, though the precinct is shabby; in front, it is rather too much shut in. These defects, however, it makes up for on the north side and behind, where it presentsitself in the most admirable manner to the garden of the Archevêché, which has been arranged as a public walk, with the usual formal alleys of thejardin français. I must add that I appreciated these points only on the following day. As I stood there in the light of the stars, many of which had an autumnal sharpness, while others were shooting over the heavens, the huge, rugged vessel of the church overhung me in very much the same way as the black hull of a ship at sea would overhang a solitary swimmer. It seemed colossal, stupendous, a dark leviathan.
The next morning, which was lovely, I lost no time in going back to it, and found with satisfaction that the daylight did it no injury. The cathedral of Bourges is indeed magnificently huge, and if it is a good deal wanting in lightness and grace, it is perhaps only the more imposing. I read in the excellent handbook of M. Joanne that it was projected "dès1172," but commenced only in the first years of the thirteenth century. "The nave," the writer adds, "was finishedtant bien que mal, faute de ressources; the façade is of the thirteenth and fourteenth centuries in its lower part, and of the fourteenth in its upper." The allusion to the nave means the omission of the transepts. The west front consists of two vast but imperfect towers; one of which (the south) is immensely buttressed, so that its outline slopes forward like that of a pyramid. This is the taller of the two. If they had spires these towers would be prodigious; as it is, given the rest of the church, they are wanting in elevation. There are five deeply recessed portals, all in a row, each surmounted with a gable, the gable over the central door being exceptionally high. Above the porches, which give the measure of its width, the front rears itself,piles itself, on a great scale, carried up by galleries, arches, windows, sculptures, and supported by the extraordinarily thick buttresses of which I have spoken and which, though they embellish it with deep shadows thrown sidewise, do not improve its style. The portals, especially the middle one, are extremely interesting; they are covered with curious early sculptures. The middle one, however, I must describe alone. It has no less than six rows of figures—the others have four—some of which, notably the upper one, are still in their places. The arch at the top has three tiers of elaborate imagery. The upper of these is divided by the figure of Christ in judgment, of great size, stiff and terrible, with outstretched arms. On either side of him are ranged three or four angels, with the instruments of the Passion. Beneath him in the second frieze stands the angel of justice with the scales; and on either side of him is the vision of the last judgment. The good prepare, with infinite titillation and complacency, to ascend to the skies; while the bad are dragged, pushed, hurled, stuffed, crammed, into pits and caldrons of fire. There is a charming detail in this section. Beside the angel, on the right, where the wicked are the prey of demons, stands a little female figure, that of a child, who, with hands meekly folded and head gently raised, waits for the stern angel to decide upon her fate. In this fate, however, a dreadful big devil also takes a keen interest: he seems on the point of appropriating the tender creature; he has a face like a goat and an enormous hooked nose. But the angel gently lays a hand upon the shoulder of the little girl—the movement is full of dignity—as if to say: "No; she belongs to the other side." The frieze below represents the general resurrection, with the good and the wickedemerging from their sepulchres. Nothing can be more quaint and charming than the difference shown in their way of responding to the final trump. The good get out of their tombs with a certain modest gaiety, an alacrity tempered by respect; one of them kneels to pray as soon as he has disinterred himself. You may know the wicked, on the other hand, by their extreme shyness; they crawl out slowly and fearfully; they hang back, and seem to say "Oh, dear!" These elaborate sculptures, full of ingenuous intention and of the reality of early faith, are in a remarkable state of preservation; they bear no superficial signs of restoration and appear scarcely to have suffered from the centuries. They are delightfully expressive; the artist had the advantage of knowing exactly the effect be wished to produce.
TheBourges: the Cathedralinterior of the cathedral has a great simplicity and majesty and, above all, a tremendous height. The nave is extraordinary in this respect; it dwarfs everything else I know. I should add, however, that I am in architecture always of the opinion of the last speaker. Any great building seems to me while I look at it the ultimate expression. At any rate, during the hour that I sat gazing along the high vista of Bourges the interior of the great vessel corresponded to my vision of the evening before. There is a tranquil largeness, a kind of infinitude, about such an edifice; it soothes and purifies the spirit, it illuminates the mind. There are two aisles, on either side, in addition to the nave—five in all—and, as I have said, there are no transepts; an omission which lengthens the vista, so that from my place near the door the central jewelled window in the depths of the perpendicular choir seemed a mile or two away. The second or outward of eachpair of aisles is too low and the first too high; without this inequality the nave would appear to take an even more prodigious flight. The double aisles pass all the way round the choir, the windows of which are inordinately rich in magnificent old glass. I have seen glass as fine in other churches, but I think I have never seen so much of it at once.
Beside the cathedral, on the north, is a curious structure of the fourteenth or fifteenth century, which looks like an enormous flying buttress, with its support, sustaining the north tower. It makes a massive arch, high in the air, and produces a romantic effect as people pass under it to the open gardens of the Archevêché, which extend to a considerable distance in the rear of the church. The structure supporting the arch has the girth of a largeish house, and contains chambers with whose uses I am unacquainted, but to which the deep pulsations of the cathedral, the vibration of its mighty bells and the roll of its organ-tones must be transmitted even through the great arm of stone.
The archiepiscopal palace, not walled in as at Tours, is visible as a stately habitation of the last century, at the time of my visit under repair after a fire. From this side and from the gardens of the palace the nave of the cathedral is visible in all its great length and height, with its extraordinary multitude of supports. The gardens aforesaid, accessible through tall iron gates, are the promenade—the Tuileries—of the town, and, very pretty in themselves, are immensely set off by the overhanging church. It was warm and sunny; the benches were empty; I sat there a long time in that pleasant state of mind which visits the traveller in foreign towns, when he is not too hurried,while he wonders where he had better go next. The straight, unbroken line of the roof of the cathedral was very noble; but I could see from this point how much finer the effect would have been if the towers, which had dropped almost out of sight, might have been carried still higher. The archiepiscopal gardens look down at one end over a sort of esplanade or suburban avenue lying on a lower level on which they open, and where several detachments of soldiers (Bourges is full of soldiers) had just been drawn up. The civil population was also collecting, and I saw that something was going to happen. I learned that a private of the Chasseurs was to be "broken" for stealing, and every one was eager to behold the ceremony. Sundry other detachments arrived on the ground, besides many of the military who had come as a matter of taste. One of them described to me the process of degradation from the ranks, and I felt for a moment a hideous curiosity to see it, under the influence of which I lingered a little. But only a little; the hateful nature of the spectacle hurried me away at the same that others were hurrying forward. As I turned my back upon it I reflected that human beings are cruel brutes, though I could not flatter myself that the ferocity of the thing was exclusively French. In another country the concourse would have been equally great, and the moral of it all seemed to be that military penalties are as terrible as military honours are gratifying.
Bourges: Jacques Cœur
THE cathedral is not the only lion of Bourges; the house of Jacques Cœur awaits you in posture scarcely less leonine. This remarkable man had a very strange history, and he too was "broken" like the wretched soldier whom I did not stay to see. He has been rehabilitated, however, by an age which does not fear the imputation of paradox, and a marble statue of him ornaments the street in front of his house. To interpret him according to this image—a womanish figure in a long robe and a turban, with big bare arms and a dramatic pose—would be to think of him as a kind of truculent sultana. He wore the dress of his period, but his spirit was very modern; he was a Vanderbilt or a Rothschild of the fifteenth century. He supplied the ungrateful Charles VII. with money to pay the troops who, under the heroic Maid,
Bourges—THE HOUSE OF JACQUES CŒURBourges—THE HOUSE OF JACQUES CŒUR[Click to view image enlarged.]
drove the English from French soil. His house, which to-day is used as a Palais de Justice, appears to have been regarded at the time it was built very much as the residence of Mr. Vanderbilt is regarded in New York to-day. It stands on the edge of the hill on which most of the town is planted, so that, behind, it plunges down to a lower level, and, if you approach it on that side, as I did, to come round to the front of it you have to ascend a longish flight of steps. The back, of old, must have formed a portion of the city wall; at any rate it offers to view two big towers which Joanne says were formerly part of the defence of Bourges. From the lower level of which I speak—the square in front of the post-office—the palace of Jacques Cœur looks very big and strong and feudal; from the upper street, in front of it, it looks very handsome and delicate. To this street it presents two tiers and a considerable length of façade; and it has both within and without a great deal of curious and beautiful detail. Above the portal, in the stonework, are two false windows, in which two figures, a man and a woman, apparently household servants, are represented, in sculpture, as looking down into the street. The effect is homely, yet grotesque, and the figures are sufficiently living to make one commiserate them for having been condemned, in so dull a town, to spend several centuries at the window. They appear to be watching for the return of their master, who left his beautiful house one morning and never came back.
TheBourges: Jacques Cœurhistory of Jacques Cœur, which has been written by M. Pierre Clément in a volume crowned by the French Academy, is very wonderful and interesting, but I have no space to go into it here. There is no more curious example, and few more tragical, of a great fortunecrumbling from one day to the other, or of the antique superstition that the gods grow jealous of human success. Merchant, millionaire, banker, ship-owner, royal favourite and minister of finance, explorer of the East and monopolist of the glittering trade between that quarter of the globe and his own, great capitalist who had anticipated the brilliant operations of the present time, he expiated his prosperity by poverty, imprisonment, and torture. The obscure points in his career have been elucidated by M. Clément, who has drawn, moreover, a very vivid picture of the corrupt and exhausted state of France during the middle of the fifteenth century. He has shown that the spoliation of the great merchant was a deliberately calculated act, and that the king sacrificed him without scruple or shame to the avidity of a singularly villanous set of courtiers. The whole story is an extraordinary picture of high-handed rapacity—the crudest possible assertion of the right of the stronger. The victim was stripped of his property, but escaped with his life, made his way out of France and, betaking himself to Italy, offered his services to the Pope. It is proof of the consideration that he enjoyed in Europe, and of the variety of his accomplishments, that Calixtus III. should have appointed him to take command of a fleet which his Holiness was fitting out against the Turks. Jacques Cœur, however, was not destined to lead it to victory. He died shortly after the expedition had started, in the island of Chios, in 1456. The house at Bourges, his native place, testifies in some degree to his wealth and splendour, though it has in parts that want of space which is striking in many of the buildings of the Middle Ages. The court indeed is on a large scale, ornamented with turrets and arcades, with several beautiful windows and with sculpturesinserted in the walls, representing the various sources of the great fortune of the owner. M. Pierre Clément describes this part of the house as having been of an "incomparable richesse"—an estimate of its charms which seems slightly exaggerated to-day. There is, however, something delicate and familiar in the bas-reliefs of which I have spoken, little scenes of agriculture and industry which show that the proprietor was not ashamed of calling attention to his harvests and enterprises. To-day we should question the taste of such allusions, even in plastic form, in the house of a "merchant prince" however self-made. Why should it be, accordingly, that these quaint little panels at Bourges do not displease us? It is perhaps because things very ancient never, for some mysterious reason, appear vulgar. This fifteenth-century millionaire, with his palace, his "swagger" sculptures, may have produced that impression on some critical spirits of his own day.
The portress who showed me into the building was a dear little old woman, with the gentlest, sweetest, saddest face—a little white, aged face, with dark, pretty eyes—and the most considerate manner. She took me up into an upper hall, where there were a couple of curious chimney-pieces and a fine old oaken roof, the latter representing the hollow of a long boat. There is a certain oddity in a native of Bourges—an inland town if ever there was one, without even a river (to call a river) to encourage nautical ambitions—having found his end as admiral of a fleet; but this boat-shaped roof, which is extremely graceful and is repeated in another apartment, would suggest that the imagination of Jacques Cœur was fond of riding the waves. Indeed, as he trafficked in Oriental products and owned many galleons, it is probable that he was personally as muchat home in certain Mediterranean ports as in the capital of the pastoral Berry. If, when he looked at the ceilings of his mansion, he saw his boats upside down, this was only a suggestion of the shortest way of emptying them of their treasures. He is presented in person above one of the great stone chimney-pieces, in company with his wife, Macée de Léodepart—I like to write such an extraordinary name. Carved in white stone, the two sit playing at chess at an open window, through which they appear to give their attention much more to the passers-by than to the game. They are also exhibited in other attitudes; though I do not recognise them in the composition on top of one of the fireplaces which represents the battlements of a castle, with the defenders (little figures between the crenellations) hurling down missiles with a great deal of fury and expression. It would have been hard to believe that the man who surrounded himself with these friendly and humorous devices had been guilty of such wrong-doing as to call down the heavy hand of justice.
It is a curious fact, however, that Bourges contains legal associations of a purer kind than the prosecution of Jacques Cœur, which, in spite of the rehabilitations of history, can hardly be said yet to have terminated, inasmuch as the law-courts of the city are installed in his quondam residence. At a short distance from it stands the Hôtel Cujas, one of the curiosities of Bourges and the habitation for many years of the great jurisconsult who revived in the sixteenth century the study of the Roman law and professed it during the close of his life in the university of the capital of Berry. The learned Cujas had, in spite of his sedentary pursuits, led a very wandering life; he died at Bourges in the year 1590. Sedentary pursuits are perhaps not exactly
BOURGES—THE HOUSE OF JACQUES CŒURBOURGES—THE HOUSE OF JACQUES CŒUR[Click to view image enlarged.]
what I should call them, having read in the "Biographie Universelle" (sole source of my knowledge of the renowned Cujacius) that his usual manner of study was to spread himself on his belly on the floor. He did not sit down, he lay down; and the "Biographie Universelle" has (for so grave a work) an amusing picture of the short, fat, untidy scholar dragging himselfà plat ventre, across his room, from one pile of books to the other. The house in which these singular gymnastics took place, and which is now the headquarters of the gendarmerie, is one of the most picturesque at Bourges. Dilapidated and discoloured, it has a charming Renaissance front. A high wall separates it from the street, and on this wall, which is divided by a large open gateway, are perched two overhanging turrets. The open gateway admits you to the court, beyond which the melancholy mansion erects itself, decorated also with turrets, with fine old windows and with a beautiful tone of faded red brick and rusty stone. It is a charming encounter for a provincial by-street; one of those accidents in the hope of which the traveller with a propensity for sketching (whether on a little paper block or on the tablets of his brain) decides to turn a corner at a venture. A brawny gendarme in his shirtsleeves was polishing his boots in the court; an ancient, knotted vine, forlorn of its clusters, hung itself over a doorway and dropped its shadow on the rough grain of the wall. The place was very sketchable. I am sorry to say, however, that it was almost the only "bit." Various other curious old houses are supposed to exist at Bourges, and I wandered vaguely about in search of them. But I had little success, and I ended by becoming sceptical. Bourges is aville de provincein the full force of the term, especially as appliedinvidiously. The streets, narrow, tortuous, and dirty, have very wide cobble-stones; the houses for the most part are shabby, without local colour. The look of things is neither modern nor antique—a kind of mediocrity of middle age. There is an enormous number of blank walls—walls of gardens, of courts, of private houses—that avert themselves from the street as if in natural chagrin at there being so little to see. Round about is a dull, flat, featureless country, on which the magnificent cathedral looks down. There is a peculiar dulness and ugliness in a French town of this type, which, I must immediately add, is not the most frequent one. In Italy everything has a charm, a colour, a grace; even desolation and ennui. In England a cathedral city may be sleepy, but it is pretty sure to be mellow. In the course of six weeks spenten province, however, I saw few places that had not more expression than Bourges.
IBourges: Jacques Cœurwent back to the cathedral; that, after all, was a feature. Then I returned to my hotel, where it was time to dine, and sat down, as usual, with thecommis-voyageurs, who cut their bread on their thumb and partook of every course; and after this repast I repaired for a while to the café, which occupied a part of the basement of the inn and opened into its court. This café was a friendly, homely, sociable spot, where it seemed the habit of the master of the establishment totutoyerhis customers and the practice of the customers totutoyerthe waiter. Under these circumstances the waiter of course felt justified in sitting down at the same table with a gentleman who had come in and asked him for writing materials. He served this gentleman with a horrible little portfolio covered with shiny black cloth and accompanied with two sheets of
BOURGES: THE CATHEDRAL (WEST FRONT)BOURGES: THE CATHEDRAL (WEST FRONT)[Click to view image enlarged.]
thin paper, three wafers, and one of those instruments of torture which pass in France for pens—these being the utensils invariably evoked by such a request; and then, finding himself at leisure, he placed himself opposite and began to write a letter of his own. This trifling incident reminded me afresh that France is a democratic country. I think I received an admonition to the same effect from the free, familiar way in which the game of whist was going on just behind me. It was attended with a great deal of noisy pleasantry, flavoured every now and then with a dash of irritation. There was a young man of whom I made a note; he was such a beautiful specimen of his class. Sometimes he was very facetious, chattering, joking, punning, showing off; then, as the game went on and he lost and had to pay theconsommation, he dropped his amiability, slanged his partner, declared he wouldn't play any more, and went away in a fury. Nothing could be more perfect or more amusing than the contrast. The manner of the whole affair was such as, I apprehend, one would not have seen among our English-speaking people; both the jauntiness of the first phase and the petulance of the second. To hold the balance straight, however, I may remark that if the men were all fearful "cads," they were, with their cigarettes and their inconsistency, less heavy, less brutal, than our dear English-speaking cad; just as the bright little café where a robust materfamilias, doling out sugar and darning a stocking, sat in her place under the mirror behind thecomptoir, was a much more civilised spot than a British public-house or a "commercial room," with pipes and whisky, or even than an American saloon.
Le Mans
IT IS very certain that when I left Tours for Le Mans it was a journey and not an excursion; for I had no intention of coming back. The question indeed was to get away, no easy matter in France in the early days of October, when the wholejeunesseof the country is returning to school. It is accompanied, apparently, with parents and grandparents, and it fills the trains with little pale-facedlycéens, who gaze out of the windows with a longing, lingering air not unnatural on the part of small members of a race in which life is intense, who are about to be restored to those big educative barracks that do such violence to our American appreciation of the opportunities of boyhood. The train stopped every five minutes; but fortunately the country was charming—hilly and bosky, eminently good-humoured, and dotted here and there with a smart little château. The old capital of the province of the Maine, which has given its name to a great American State, is a fairly interesting town, but
I confess that I found in it less than I expected to admire. My expectations had doubtless been my own fault; there is no particular reason why Le Mans should fascinate. It stands upon a hill, indeed—a much better hill than the gentle swell of Bourges. This hill, however, is not steep in all directions; from the railway, as I arrived, it was not even perceptible. Since I am making comparisons, I may remark that, on the other hand, the Boule d'Or at Le Mans is an appreciably better inn than the Boule d'Or at Bourges. It looks out upon a small market-place which has a certain amount of character and seems to be slipping down the slope on which it lies, though it has in the middle an uglyhalle, or circular market-house, to keep it in position. At Le Mans, as at Bourges, my first business was with the cathedral, to which I lost no time in directing my steps. It suffered by juxtaposition to the great church I had seen a few days before; yet it has some noble features. It stands on the edge of the eminence of the town, which falls straight away on two sides of it, and makes a striking mass, bristling behind, as you see it from below, with rather small but singularly numerous flying buttresses. On my way to it I happened to walk through the one street which contains a few ancient and curious houses, a very crooked and untidy lane, of really mediæval aspect, honoured with the denomination of the Grand Rue. Here is the house of Queen Berengaria—an absurd name, as the building is of a date some three hundred years later than the wife of Richard Cœur de Lion, who has a sepulchral monument in the south aisle of the cathedral. The structure in question—very sketchable, if the sketcher could get far enough away from it—is an elaborate little dusky façade, overhanging the street,ornamented with panels of stone, which are covered with delicate Renaissance sculpture. A fat old woman standing in the door of a small grocer's shop next to it—a most gracious old woman, with a bristling moustache and a charming manner—told me what the house was, and also indicated to me a rotten-looking brown wooden mansion in the same street, nearer the cathedral, as the Maison Scarron. The author of the "Roman Comique" and of a thousand facetious verses enjoyed for some years, in the early part of his life, a benefice in the cathedral of Le Mans, which gave him a right to reside in one of the canonical houses. He was rather an odd canon, but his history is a combination of oddities. He wooed the comic muse from the arm-chair of a cripple, and in the same position—he was unable even to go down on his knees—prosecuted that other suit which made him the first husband of a lady of whom Louis XIV. was to be the second. There was little of comedy in the future Madame de Maintenon; though, after all, there was doubtless as much as there need have been in the wife of a poor man who was moved to compose for his tomb such an epitaph as this, which I quote from the "Biographie Universelle":
"Celui qui cy maintenant dort,Fit plus de pitié que d'envie,Et souffrit mille fois la mort,Avant que de perdre la vie.Passant, ne fais icy de bruit,Et garde bien qu'il ne s'éveille.Car voicy la première nuit,Que le pauvre Scarron sommeille."
ThereLe Mansis rather a quiet, satisfactoryplacein front of the cathedral, with some good "bits" in it; notably a turret at the angle of one of the towers and a very fine steep-roofed dwelling, behind low walls, which itoverlooks, with a tall iron gate. This house has two or three little pointed towers, a big black, precipitous roof, and a general air of having had a history. There are houses which are scenes, and there are houses which are only houses. The trouble with the domestic architecture of the United States is that it is not scenic, thank goodness, and the characteristic of an old structure like the turreted mansion on the hillside of Le Mans is that it is not simply a house. It is a person, as it were, as well. It would be well, indeed, if it might have communicated a little of its personality to the front of the cathedral, which has none of its own. Shabby, rusty, unfinished, this front has a romanesque portal, but nothing in the way of a tower. One sees from without, at a glance, the peculiarity of the church—the disparity between the romanesque nave, which is small and of the twelfth century, and the immense and splendid transepts and choir, of a period a hundred years later. Outside, this end of the church rises far above the nave, which looks merely like a long porch leading to it, with a small and curious romanesque porch in its own south flank. The transepts, shallow but very lofty, display to the spectators in theplacethe reach of their two clere-storey windows, which occupy, above, the whole expanse of the wall. The south transept terminates in a sort of tower, which is the only one of which the cathedral can boast. Within, the effect of the choir is superb; it is a church in itself, with the nave simply for a point of view. As I stood there I read in my Murray that it has the stamp of the date of the perfection of pointed Gothic, and I found nothing to object to the remark. It suffers little by confrontation with Bourges and, taken in itself, seems to me quite as fine. A passage of double aisles surroundsit, with the arches that divide them supported on very thick round columns, not clustered. There are twelve chapels in this passage, and a charming little lady-chapel filled with gorgeous old glass. The sustained height of this almost detached choir is very noble; its lightness and grace, its soaring symmetry, carry the eye up to places in the air from which it is slow to descend. Like Tours, like Chartres, like Bourges (apparently like all the French cathedrals, and unlike several English ones), Le Mans is rich in splendid glass. The beautiful upper windows of the choir make, far aloft, a brave gallery of pictures, blooming with vivid colour. It is the south transept that contains the formless image—a clumsy stone woman lying on her back—which purports to represent Queen Berengaria aforesaid.
TheLe Mansview of the cathedral from the rear is, as usual, very fine. A small garden behind it masks its base; but you descend the hill to a largeplace de foire, adjacent to a fine old public promenade which is known as Les Jacobins, a sort of miniature Tuileries, where I strolled for a while in rectangular alleys destitute of herbage and received a deeper impression of vanished things. The cathedral, on the pedestal of its hill, looks considerably farther than the fair-ground and the Jacobins, between the rather bare poles of whose straightly planted trees you may admire it at a convenient distance. I admired it till I thought I should remember it (better than the event has proved), and then I wandered away and looked at another curious old church, Notre-Dame-de-la-Couture. This sacred edifice made a picture for ten minutes, but the picture has faded now. I reconstruct a yellowish-brown façade and a portal fretted with early sculptures; but the