FOOTNOTES:

FOOTNOTES:[1]We have not putCherbourg,Domfront, orEvreaux, as a matter of course, on our list, although they should be included in a tour, especially the two latter towns, for their archæological interest.[2]The same remark applies to Mantes, familiar to us from its historical associations, and by its graceful towers, which so many have seen from the railway in going to Paris. "All the world goes by Mantes, but very few stop there," writes a traveller. "The tourist, on his way to Paris, generally has a ticket which allows him to stop at Rouen but not at Mantes. People very anxious to stop at Mantes, and to muse, so to speak, amongst its embers, have had great searchings of heart how to get there, and have not accomplished their object until after some years of reflection."[3]Trouville and Deauville-sur-mer.[4]The architecture of Rouen, which is better known to our countrymen than that of any other town in Normandy, is later than that of Caen or Bayeux. Notwithstanding the magnificence of its cathedral, we venture to say that there is nothing in all Rouen to compare with the norman romanesque of the latter towns.[5]'I am not enthusiastic about gutters and gables, and object to a population composed exclusively of old women,' wrote the author of 'Miss Carew;' but she could not have seen Pont Audemer.[6]The brightness and cleanliness of the peasant and market-women, is a pleasant feature to notice in Normandy.[7]It is worthy of note that the very variety and irregularity that attracts us so much in these buildings does not meet with universal approval in the French schools. In the'Grammaire des Arts du Dessin,' M. Charles Blanc lays down as an axiom, that "sublimity in architecture belongs to three essential conditions—simplicity of surface, straightness, and continuity of line." Nevertheless we find many modern French houses built in the style of the 13th and 14th century; especially in Lower Normandy.[8]There is a great change in the aspect of Pont Audemer during the last year or two; streets of new houses having sprung up, hiding some of the best old work from view; and one whole street of wooden houses having been lately taken down.[9]There is one peculiarity about the position of Pont Audemer which is charming to an artist; the streets are ended by hills and green slopes, clothed to their summits with trees, which are often in sunshine, whilst the town is in shadow.[10]We, human creatures, little know what high revel is held at four o'clock on a summer's morning, by the birds of the air and the beasts of the field; when their tormentors are asleep.[11]The approach to Lisieux from the railway station is singularly uninteresting; a new town of common red brick houses, of the Coventry or Birmingham pattern, having lately sprung up in this quarter.[12]There is something not inappropriate, in the printed letters in present use in France, to the 'Haussmann' style of street architecture; some inscriptions over warehouses and shops could scarcely indeed be improved. We might point as an illustration of our meaning to the successful introduction of the wordnord, several times repeated, on the façade of the terminus of the Great Northern Railway at Paris.[13]We lately saw an english crest, bearing the motto "Courage without fear;" a piece of tautology, surely of modern manufacturer?[14]The contrast between the present and former states of society might be typified by the general substitution of the screw for the nail in building; both answering the purpose of the modern builder, but the former preferred, becauseremovableat pleasure.It is a restless age, in which advertisements of 'Families removed' are pasted on the walls of a man's house without appearing to excite his indignation.[15]The 'renaissance' work at the east end of this church is considered by Herr Lübke to be 'the masterpiece of the epoch.' 'It is to be found,' he says, 'at one extremity of a building, the other end of which is occupied by the loveliest steeple and tower in the world.'[16]It is remarkable that with all their care for this building, the authorities should permit apple-stalls and wooden sheds to be built up against the tower.[17]An architect, speaking of the Albert Memorial, now approaching completion, says:—'In ten years the spire and all its elaborate tracery will have become obsolete and effaced for all artistic purposes. The atmosphere of London will have performed its inevitable function. Every 'scroll work' and 'pinnacle' will be a mere clot of soot, and the bronze gilt Virtues will represent nothing but swarthy denizens of the lower regions; the plumage of the angels will be converted into a sort of black-and-white check-work. 'All this fated transformation we see with the mind's eye as plainly as we see with those of the body, the similar change which has been effected in the Gothic tracery of some of our latest churches.'[18]The old woman is well known at Caen, and her encounter with the 'garçon anglais' it matter of history amongst her friends in the town.[19]It was lately found necessary to repair the south door; but the restoration of the carved work has been effected with the utmost skill and care: indeed we could hardly point to a more successful instance of 'restoring' in France.[20]We might point, as a notable exception, to the memorial window to Brunel, the engineer, in Westminster Abbey; especially for its appropriateness and harmony with the building.[21]Theraconteursof the middle ages used to travel on foot about Europe, reciting, or repeating, the last new work or conversation of celebrated men—a useful and lucrative profession in days before printing was invented.[22]In the British Museum there is a book containing a facsimile of the whole of this tapestry (printed in colours, for the Society of Antiquaries), where the reader may see it almost as well as at Bayeux; just as, at the Crystal Palace, we may examine the modelling of Ghiberti's gates, with greater facility than by standing in the windy streets of Florence.[23]The sketch of the pulpit (made on the spot by the author) is erroneously stated in the List of Illustrations to be from a photograph.[24]At the cathedral at Coutances the service is held under the great tower, and the effect is most melodious from above.[25]In an article in thePall Mall Gazette, on the 'woman of the future,' the writer argues that:—'As beauty is more or less a matter of health, too much can never be said against the abuse of it. Quite naturally the fragile type of beauty has become the standard of the present day, and men admire in real lift the lily-cheeked, small-waisted, diaphanous-looking creatures idealized by living artists. When we become accustomed to a nobler kind of beauty we shall attain to a loftier ideal. Men will seek nobility rather than prettiness, strength rather than weakness, physical perfection rather than physical degeneracy, in the women they select as mothers of their children. Artists will rejoice and sculptors will cease to despair when this happy consummation is reached—let none regard it as chimerical or Utopian.'[26]The railway from Paris to Granville is nearly finished; and another line is in progress to connect Cherbourg, Coutances, Granville, and St. Malo.[27]If this were the place to enlarge upon the general question of bringing children abroad to be educated, we might suggest, at the outset, that there were certain English qualities, such as manliness and self-reliance; and certain English sports, such as cricket, hunting and the like, which have less opportunity of fair development in boys educated abroad. And as to girls—who knows the impression left for life on young hearts, by the dead walls and silent trees of a Frenchpension?[28]It is well that sportsmen do not always make a good bag, for another drawback to the pleasures of sport in France is the 'heavy octroi duty which a successful shot has to pay upon every head of game which he takes back to town.' For a pheasant (according to the latest accounts) he has to pay '3f. 50c. to 4f.; for a hare, 1f. 50c. to 2f.; for a rabbit, 75c. to 1f. 25c.; for a partridge, 75c. to 1f. 50c. the pound; and for every other species of feathered game, 18c. the kilogramme.'[29]The island, in this illustration, appears, after engraving, to be about two miles nearer the spectator, and to be less covered with houses, than it really is.[30]During the last few years the prisoners have all been removed from Mont St. Michael.[31]The sands are so shifting and variable, that it is impossible to cross with safety, excepting by well-known routes, and at certain times of the tide; many lives, even of the fishermen and women, have been lost on these sands.[32]It a irresistible, here, not to compare in our minds, with these twelfth-century relics of magnificence and festivity, certain emblazoned 'civic banquets,' and the gay 'halls by the sea,' with which the child (old or young) of the nineteenth century is enraptured—the former being the realities of a chivalrous epoch; the latter, masquerades or money speculations, of a more advanced century. The comparison may be considered unjust, but it is one that suggests itself again and again, as typical of a curiously altered state of society and manners.[33]The latest, and perhaps the most complete, description of Mont St Michael, will be found in the 'People's Magazine' for August, 1869.[34]French artists flock together in the valleys of the Seine and the Somme, like English landscape painters at the junction of the Greta and the Tees—Mortain and Vire not being yet fashionable. It is hard, indeed, to get English artists out of a groove; to those who, like ourselves, have had to examine the pictures at our annual Exhibitions, year by year, somewhat closely, the streams in Wales are as familiar on canvas, as 'Finding the Body of Harold.'[35]We speak of Mortain as we found it a few years ago; its sanitory arrangements have, we understand, been improved, but people are not yet enthusiastic about Mortain as a residence.[36]Notwithstanding this apparent indifference to landscape, we remember finding at a country inn, the walls covered with one of Troyon's pictures (a hundred times repeated in paper-hanging); a pretty pastoral scene which Messrs. Christie would have catalogued as 'a landscape with cattle.'[37]The neatness and precision with which they make their piles of stones at the roadside will be remembered by many a traveller in this part of Normandy. They accomplish it by putting the stones into a shape (as if making a jelly), and removing the boards when full; and, as there are no French boys, the loose pile remains undisturbed for months.[38]Submitting to the exigencies of publishing expediency, we have been unable to have this drawing reproduced on wood; although we were anxious to draw attention to the bold forms of rocks which crown these heights, and to the line old trees which surround the castle.[39]There are' deeds of valour' (according to theaffiches) to be witnessed in these days at Falaise; we once saw a woman here, in a circus, turning somersaults on horseback before a crowd of spectators. The people of Falaise cannot be accused of being behind the age; one gentleman advertises as hisspecialité,' the cure of injuries caused by velocipedes'![40]Our peaceful proclivities may be noticed in small things; the fierce and warlike devices, such as an eagle's head, a lionrampant, and the like, which were originally designed to stimulate the warrior in battle, now serve to adorn the panel of a carriage, or a sheet of note-paper.[41]It is rather a curious fact that Prout, notwithstanding his love for historic scenes, seems to have had little sympathy with the poor 'Maid of Orleans.' In a letter which accompanied the presentation of this drawing, the following passage occurs:—'I beg your acceptance of what is miserable, though perhaps not uninteresting, as it is part of the house in which Joan of Arc was confined at Rouen, and before which the English,very wisely, burnt her for a witch!'Mr. Prout evidently differed in opinion from Pierre Cauchon, Bishop of Bauvais, who presided at the tribunal which condemned Joan of Arc to death; for he founded a Lady Chapel at Lisieux, 'in expiation of his false judgment of an innocent woman.'[42]It is curious to note that the wealth of cities nearly always flow westward,—converting, as in London, the market-gardens of the poor into the 'Palace Gardens' of the rich; and, with steady advance, sweeps away our landmarks,—turning the gravel pits of western London into the decorum of a Ladbroke-square.[43]It is no new remark that more than one Englishman of artistic taste has returned to Rouen after visiting the buildings of Paris, having found nothing equal in grandeur to this cathedral, and the church of St. Ouen.[44]The original spire was made of wood, and much more picturesque; our artist evidently could not bring himself to copy with literal truth this disfiguring element to the building.[45]For a detailed description of the monuments in this Cathedral, and of the church of St. Ouen, we cannot do better than refer the reader to the very accurate account in Murray's 'Handbook;' and also to Cassell's 'Normandy,' from which we have made the above extracts.[46]We must record an exception to this rule, in the case of the church at Dives, which a kept closely locked, under the care of an old woman.[47]Just as the words of our Baptismal service, enrolling a young child into the 'church militant,' lose half their effect when addressed to men whose ideas of manliness and fighting fall very short of their true meaning.It has a strange sound (to say the least that could be said) to hear quiet town-bred godfathers promise that they will 'take care' that a child shall 'fight under the banner' of the cross, and 'continue Christ's faithful soldier and servant unto his life's end;' and it is almost as strange to hear the good Bishop Heber's warlike imagery—'His blood-red banner streams afar; who follows in his train?' &c., &c.—in the mouths of little children.[48]The incongruity strikes one more when we see him afterwards in the town, marching along with a flat-footed shambling tread, holding an umbrella in front of him in his clenched fist (as all french priests hold it),—a figure as unromantic-looking as ungraceful.[49]He could not be called naturally gifted, even in the matter of speaking; but he had been well taught from his youth up, both the manner and the method of fixing the attention of his hearers.[50]On the quay at the front of the Hotel d'Angleterre, the public seats under the trees are crowded with people in the afternoon, especially of the poor and working classes.[51]There seem to be few living French artists of genius, who devote themselves to landscape painting; when we have mentioned the names of Troyon, Lambinet, Lamorinière and Auguste Bonheur, we have almost exhausted the list.[52]It is unfortunately different in the case of the inhabitants of the neighbourhood of Fécamp and Étretat, who are certainly not improved, either in manners or morals, by the fashionable invasion of their province.[53]The London 'Illustrated Police News.'[54]The people in this part of Normandy are becoming less political, and more conservative, every day (a conservatism which, in their case, may be taken as a sign of prosperity, and of a certain unwillingness to be disturbed in their business); they are content with a paternal government—at a distance; they wish for peace and order, and have no objection to be taken care of. They are so willing to be led that, as a Frenchman expressed it to us, 'they would almost prefer, if they could, to have an omnipotent Postmaster-General to inspect all letters, and see whether they were creditable to the sender and fitting to be received'![55]In the matter of bells, the same voices now ring half over Europe—the music is the same at Bruges as at Birmingham; church bells being made wholesale, to the same pattern and in the same mould, another link in the chain of old associations, is broken.[56]We are tempted to remark, in passing, on the curious want of manner in speaking French that we notice amongst English people abroad; arising, probably, from their method of learning it. French people have often expressed to us their astonishment at this defect, amongst so many educated English women; a defect which, according to the same authority, is less prominent amongst travelled Englishmen in the same position in life. We will not venture to give an opinion upon the latter point; but most of us have yet to learn that there are two French languages—one for writing and one for speaking; and that the latter is almost made up ofmanner, and depends upon the modulation of the voice.[57]It is worthy of note that, in a cruel country like France, the 'blinkers' to the horses (which we are doing away with in England) are a most merciful provision against the driver's brutality; and a security to the traveller, against his habitual carelessness.[58]We confess to a lively sympathy with the growth of artistic taste in America; a sympathy not diminished by the knowledge that every English work of credit on these subjects is eagerly bought and read by the people.[59]The carving may be machine-made, and the slate and fringes to the roofs cut by steam; but we must remember that these houses are only 'run up to let,' as it is called, some of them costing not more than 500l.or 600l.[60]It is interesting to note how the changes in the modern systems of warfare seem to be tending (both in attack and defence) to a more practical and picturesque state of things. Thus in attack, the top boots and loose costume of the engineers and sappers figure more conspicuously in these days, than the smooth broad-cloth of the troops of the line; and in defence (thanks to Captain Moncreiff's system), we are promised guns that shall be concealed in the long grass of our southern downs, whilst stone and brick fortifications need no longer desolate the heights.[61]In one of the west-end clubs a fresco has lately been exhibited as a suggestion to the members, shewing the easy and graceful costume of the fifteenth century.[62]If the words in an ordinary letter in a lady's handwriting, were measured, it would be found that the point of the pen had passed over a distance of twenty or thirty feet.[63]We are becoming so accustomed to the deliberate misuse of words, that when a person (in London) informs us that he is going 'to dine at the pallis,' we understand him at once to mean that he if going to spend the day at the great glass bazaar at Sydenham.[64]The fares by Diligence are not inserted because they are liable to variation; but the traveller may safely calculate them, at not more than 2d.a mile for the best places, Allrailway faresstated arefirst class.

[1]We have not putCherbourg,Domfront, orEvreaux, as a matter of course, on our list, although they should be included in a tour, especially the two latter towns, for their archæological interest.

[2]The same remark applies to Mantes, familiar to us from its historical associations, and by its graceful towers, which so many have seen from the railway in going to Paris. "All the world goes by Mantes, but very few stop there," writes a traveller. "The tourist, on his way to Paris, generally has a ticket which allows him to stop at Rouen but not at Mantes. People very anxious to stop at Mantes, and to muse, so to speak, amongst its embers, have had great searchings of heart how to get there, and have not accomplished their object until after some years of reflection."

[3]Trouville and Deauville-sur-mer.

[4]The architecture of Rouen, which is better known to our countrymen than that of any other town in Normandy, is later than that of Caen or Bayeux. Notwithstanding the magnificence of its cathedral, we venture to say that there is nothing in all Rouen to compare with the norman romanesque of the latter towns.

[5]'I am not enthusiastic about gutters and gables, and object to a population composed exclusively of old women,' wrote the author of 'Miss Carew;' but she could not have seen Pont Audemer.

[6]The brightness and cleanliness of the peasant and market-women, is a pleasant feature to notice in Normandy.

[7]It is worthy of note that the very variety and irregularity that attracts us so much in these buildings does not meet with universal approval in the French schools. In the'Grammaire des Arts du Dessin,' M. Charles Blanc lays down as an axiom, that "sublimity in architecture belongs to three essential conditions—simplicity of surface, straightness, and continuity of line." Nevertheless we find many modern French houses built in the style of the 13th and 14th century; especially in Lower Normandy.

[8]There is a great change in the aspect of Pont Audemer during the last year or two; streets of new houses having sprung up, hiding some of the best old work from view; and one whole street of wooden houses having been lately taken down.

[9]There is one peculiarity about the position of Pont Audemer which is charming to an artist; the streets are ended by hills and green slopes, clothed to their summits with trees, which are often in sunshine, whilst the town is in shadow.

[10]We, human creatures, little know what high revel is held at four o'clock on a summer's morning, by the birds of the air and the beasts of the field; when their tormentors are asleep.

[11]The approach to Lisieux from the railway station is singularly uninteresting; a new town of common red brick houses, of the Coventry or Birmingham pattern, having lately sprung up in this quarter.

[12]There is something not inappropriate, in the printed letters in present use in France, to the 'Haussmann' style of street architecture; some inscriptions over warehouses and shops could scarcely indeed be improved. We might point as an illustration of our meaning to the successful introduction of the wordnord, several times repeated, on the façade of the terminus of the Great Northern Railway at Paris.

[13]We lately saw an english crest, bearing the motto "Courage without fear;" a piece of tautology, surely of modern manufacturer?

[14]The contrast between the present and former states of society might be typified by the general substitution of the screw for the nail in building; both answering the purpose of the modern builder, but the former preferred, becauseremovableat pleasure.It is a restless age, in which advertisements of 'Families removed' are pasted on the walls of a man's house without appearing to excite his indignation.

It is a restless age, in which advertisements of 'Families removed' are pasted on the walls of a man's house without appearing to excite his indignation.

[15]The 'renaissance' work at the east end of this church is considered by Herr Lübke to be 'the masterpiece of the epoch.' 'It is to be found,' he says, 'at one extremity of a building, the other end of which is occupied by the loveliest steeple and tower in the world.'

[16]It is remarkable that with all their care for this building, the authorities should permit apple-stalls and wooden sheds to be built up against the tower.

[17]An architect, speaking of the Albert Memorial, now approaching completion, says:—'In ten years the spire and all its elaborate tracery will have become obsolete and effaced for all artistic purposes. The atmosphere of London will have performed its inevitable function. Every 'scroll work' and 'pinnacle' will be a mere clot of soot, and the bronze gilt Virtues will represent nothing but swarthy denizens of the lower regions; the plumage of the angels will be converted into a sort of black-and-white check-work. 'All this fated transformation we see with the mind's eye as plainly as we see with those of the body, the similar change which has been effected in the Gothic tracery of some of our latest churches.'

[18]The old woman is well known at Caen, and her encounter with the 'garçon anglais' it matter of history amongst her friends in the town.

[19]It was lately found necessary to repair the south door; but the restoration of the carved work has been effected with the utmost skill and care: indeed we could hardly point to a more successful instance of 'restoring' in France.

[20]We might point, as a notable exception, to the memorial window to Brunel, the engineer, in Westminster Abbey; especially for its appropriateness and harmony with the building.

[21]Theraconteursof the middle ages used to travel on foot about Europe, reciting, or repeating, the last new work or conversation of celebrated men—a useful and lucrative profession in days before printing was invented.

[22]In the British Museum there is a book containing a facsimile of the whole of this tapestry (printed in colours, for the Society of Antiquaries), where the reader may see it almost as well as at Bayeux; just as, at the Crystal Palace, we may examine the modelling of Ghiberti's gates, with greater facility than by standing in the windy streets of Florence.

[23]The sketch of the pulpit (made on the spot by the author) is erroneously stated in the List of Illustrations to be from a photograph.

[24]At the cathedral at Coutances the service is held under the great tower, and the effect is most melodious from above.

[25]In an article in thePall Mall Gazette, on the 'woman of the future,' the writer argues that:—'As beauty is more or less a matter of health, too much can never be said against the abuse of it. Quite naturally the fragile type of beauty has become the standard of the present day, and men admire in real lift the lily-cheeked, small-waisted, diaphanous-looking creatures idealized by living artists. When we become accustomed to a nobler kind of beauty we shall attain to a loftier ideal. Men will seek nobility rather than prettiness, strength rather than weakness, physical perfection rather than physical degeneracy, in the women they select as mothers of their children. Artists will rejoice and sculptors will cease to despair when this happy consummation is reached—let none regard it as chimerical or Utopian.'

[26]The railway from Paris to Granville is nearly finished; and another line is in progress to connect Cherbourg, Coutances, Granville, and St. Malo.

[27]If this were the place to enlarge upon the general question of bringing children abroad to be educated, we might suggest, at the outset, that there were certain English qualities, such as manliness and self-reliance; and certain English sports, such as cricket, hunting and the like, which have less opportunity of fair development in boys educated abroad. And as to girls—who knows the impression left for life on young hearts, by the dead walls and silent trees of a Frenchpension?

[28]It is well that sportsmen do not always make a good bag, for another drawback to the pleasures of sport in France is the 'heavy octroi duty which a successful shot has to pay upon every head of game which he takes back to town.' For a pheasant (according to the latest accounts) he has to pay '3f. 50c. to 4f.; for a hare, 1f. 50c. to 2f.; for a rabbit, 75c. to 1f. 25c.; for a partridge, 75c. to 1f. 50c. the pound; and for every other species of feathered game, 18c. the kilogramme.'

[29]The island, in this illustration, appears, after engraving, to be about two miles nearer the spectator, and to be less covered with houses, than it really is.

[30]During the last few years the prisoners have all been removed from Mont St. Michael.

[31]The sands are so shifting and variable, that it is impossible to cross with safety, excepting by well-known routes, and at certain times of the tide; many lives, even of the fishermen and women, have been lost on these sands.

[32]It a irresistible, here, not to compare in our minds, with these twelfth-century relics of magnificence and festivity, certain emblazoned 'civic banquets,' and the gay 'halls by the sea,' with which the child (old or young) of the nineteenth century is enraptured—the former being the realities of a chivalrous epoch; the latter, masquerades or money speculations, of a more advanced century. The comparison may be considered unjust, but it is one that suggests itself again and again, as typical of a curiously altered state of society and manners.

[33]The latest, and perhaps the most complete, description of Mont St Michael, will be found in the 'People's Magazine' for August, 1869.

[34]French artists flock together in the valleys of the Seine and the Somme, like English landscape painters at the junction of the Greta and the Tees—Mortain and Vire not being yet fashionable. It is hard, indeed, to get English artists out of a groove; to those who, like ourselves, have had to examine the pictures at our annual Exhibitions, year by year, somewhat closely, the streams in Wales are as familiar on canvas, as 'Finding the Body of Harold.'

[35]We speak of Mortain as we found it a few years ago; its sanitory arrangements have, we understand, been improved, but people are not yet enthusiastic about Mortain as a residence.

[36]Notwithstanding this apparent indifference to landscape, we remember finding at a country inn, the walls covered with one of Troyon's pictures (a hundred times repeated in paper-hanging); a pretty pastoral scene which Messrs. Christie would have catalogued as 'a landscape with cattle.'

[37]The neatness and precision with which they make their piles of stones at the roadside will be remembered by many a traveller in this part of Normandy. They accomplish it by putting the stones into a shape (as if making a jelly), and removing the boards when full; and, as there are no French boys, the loose pile remains undisturbed for months.

[38]Submitting to the exigencies of publishing expediency, we have been unable to have this drawing reproduced on wood; although we were anxious to draw attention to the bold forms of rocks which crown these heights, and to the line old trees which surround the castle.

[39]There are' deeds of valour' (according to theaffiches) to be witnessed in these days at Falaise; we once saw a woman here, in a circus, turning somersaults on horseback before a crowd of spectators. The people of Falaise cannot be accused of being behind the age; one gentleman advertises as hisspecialité,' the cure of injuries caused by velocipedes'!

[40]Our peaceful proclivities may be noticed in small things; the fierce and warlike devices, such as an eagle's head, a lionrampant, and the like, which were originally designed to stimulate the warrior in battle, now serve to adorn the panel of a carriage, or a sheet of note-paper.

[41]It is rather a curious fact that Prout, notwithstanding his love for historic scenes, seems to have had little sympathy with the poor 'Maid of Orleans.' In a letter which accompanied the presentation of this drawing, the following passage occurs:—'I beg your acceptance of what is miserable, though perhaps not uninteresting, as it is part of the house in which Joan of Arc was confined at Rouen, and before which the English,very wisely, burnt her for a witch!'Mr. Prout evidently differed in opinion from Pierre Cauchon, Bishop of Bauvais, who presided at the tribunal which condemned Joan of Arc to death; for he founded a Lady Chapel at Lisieux, 'in expiation of his false judgment of an innocent woman.'

Mr. Prout evidently differed in opinion from Pierre Cauchon, Bishop of Bauvais, who presided at the tribunal which condemned Joan of Arc to death; for he founded a Lady Chapel at Lisieux, 'in expiation of his false judgment of an innocent woman.'

[42]It is curious to note that the wealth of cities nearly always flow westward,—converting, as in London, the market-gardens of the poor into the 'Palace Gardens' of the rich; and, with steady advance, sweeps away our landmarks,—turning the gravel pits of western London into the decorum of a Ladbroke-square.

[43]It is no new remark that more than one Englishman of artistic taste has returned to Rouen after visiting the buildings of Paris, having found nothing equal in grandeur to this cathedral, and the church of St. Ouen.

[44]The original spire was made of wood, and much more picturesque; our artist evidently could not bring himself to copy with literal truth this disfiguring element to the building.

[45]For a detailed description of the monuments in this Cathedral, and of the church of St. Ouen, we cannot do better than refer the reader to the very accurate account in Murray's 'Handbook;' and also to Cassell's 'Normandy,' from which we have made the above extracts.

[46]We must record an exception to this rule, in the case of the church at Dives, which a kept closely locked, under the care of an old woman.

[47]Just as the words of our Baptismal service, enrolling a young child into the 'church militant,' lose half their effect when addressed to men whose ideas of manliness and fighting fall very short of their true meaning.It has a strange sound (to say the least that could be said) to hear quiet town-bred godfathers promise that they will 'take care' that a child shall 'fight under the banner' of the cross, and 'continue Christ's faithful soldier and servant unto his life's end;' and it is almost as strange to hear the good Bishop Heber's warlike imagery—'His blood-red banner streams afar; who follows in his train?' &c., &c.—in the mouths of little children.

It has a strange sound (to say the least that could be said) to hear quiet town-bred godfathers promise that they will 'take care' that a child shall 'fight under the banner' of the cross, and 'continue Christ's faithful soldier and servant unto his life's end;' and it is almost as strange to hear the good Bishop Heber's warlike imagery—'His blood-red banner streams afar; who follows in his train?' &c., &c.—in the mouths of little children.

[48]The incongruity strikes one more when we see him afterwards in the town, marching along with a flat-footed shambling tread, holding an umbrella in front of him in his clenched fist (as all french priests hold it),—a figure as unromantic-looking as ungraceful.

[49]He could not be called naturally gifted, even in the matter of speaking; but he had been well taught from his youth up, both the manner and the method of fixing the attention of his hearers.

[50]On the quay at the front of the Hotel d'Angleterre, the public seats under the trees are crowded with people in the afternoon, especially of the poor and working classes.

[51]There seem to be few living French artists of genius, who devote themselves to landscape painting; when we have mentioned the names of Troyon, Lambinet, Lamorinière and Auguste Bonheur, we have almost exhausted the list.

[52]It is unfortunately different in the case of the inhabitants of the neighbourhood of Fécamp and Étretat, who are certainly not improved, either in manners or morals, by the fashionable invasion of their province.

[53]The London 'Illustrated Police News.'

[54]The people in this part of Normandy are becoming less political, and more conservative, every day (a conservatism which, in their case, may be taken as a sign of prosperity, and of a certain unwillingness to be disturbed in their business); they are content with a paternal government—at a distance; they wish for peace and order, and have no objection to be taken care of. They are so willing to be led that, as a Frenchman expressed it to us, 'they would almost prefer, if they could, to have an omnipotent Postmaster-General to inspect all letters, and see whether they were creditable to the sender and fitting to be received'!

[55]In the matter of bells, the same voices now ring half over Europe—the music is the same at Bruges as at Birmingham; church bells being made wholesale, to the same pattern and in the same mould, another link in the chain of old associations, is broken.

[56]We are tempted to remark, in passing, on the curious want of manner in speaking French that we notice amongst English people abroad; arising, probably, from their method of learning it. French people have often expressed to us their astonishment at this defect, amongst so many educated English women; a defect which, according to the same authority, is less prominent amongst travelled Englishmen in the same position in life. We will not venture to give an opinion upon the latter point; but most of us have yet to learn that there are two French languages—one for writing and one for speaking; and that the latter is almost made up ofmanner, and depends upon the modulation of the voice.

[57]It is worthy of note that, in a cruel country like France, the 'blinkers' to the horses (which we are doing away with in England) are a most merciful provision against the driver's brutality; and a security to the traveller, against his habitual carelessness.

[58]We confess to a lively sympathy with the growth of artistic taste in America; a sympathy not diminished by the knowledge that every English work of credit on these subjects is eagerly bought and read by the people.

[59]The carving may be machine-made, and the slate and fringes to the roofs cut by steam; but we must remember that these houses are only 'run up to let,' as it is called, some of them costing not more than 500l.or 600l.

[60]It is interesting to note how the changes in the modern systems of warfare seem to be tending (both in attack and defence) to a more practical and picturesque state of things. Thus in attack, the top boots and loose costume of the engineers and sappers figure more conspicuously in these days, than the smooth broad-cloth of the troops of the line; and in defence (thanks to Captain Moncreiff's system), we are promised guns that shall be concealed in the long grass of our southern downs, whilst stone and brick fortifications need no longer desolate the heights.

[61]In one of the west-end clubs a fresco has lately been exhibited as a suggestion to the members, shewing the easy and graceful costume of the fifteenth century.

[62]If the words in an ordinary letter in a lady's handwriting, were measured, it would be found that the point of the pen had passed over a distance of twenty or thirty feet.

[63]We are becoming so accustomed to the deliberate misuse of words, that when a person (in London) informs us that he is going 'to dine at the pallis,' we understand him at once to mean that he if going to spend the day at the great glass bazaar at Sydenham.

[64]The fares by Diligence are not inserted because they are liable to variation; but the traveller may safely calculate them, at not more than 2d.a mile for the best places, Allrailway faresstated arefirst class.

Published by Sampson Low and Co.,Crown Buildings, Fleet Street, London.Crown8vo., 10s. 6d.

"Let us sit down here quietly for one day and paint a camel's head, not flinching from the work, but mastering the wonderful texture and shagginess of his thick coat or mane, its massive beauty, and its infinite gradations of colour.

"Such a sitter no portrait painter ever had in England. Feed him up first, get a boy to keep the flies from him, and he will remain almost immoveable through the day. He will put on a sad expression in the morning which will not change; he will give no trouble whatever, he will but sit still and croak."—Chap. IV., 'Our Models.'

'"Artists and Arabs" is a fanciful name for a clever book, of which the figures are Oriental, and the sceneries Algerian. It is full of air and light, and its style is laden, so to speak, with a sense of unutterable freedom and enjoyment; a book which would remind us, not of the article on Algeria in a gazetteer, but of Turner's picture of a sunrise on the African coast.'—Athenæum.

'The lesson which Mr. Blackburn sets himself to impress upon his readers, is certainly in accordance with common sense. The first need of the painter is an educated eye, and to obtain this he must consent to undergo systematic training. He is in the position of a man who is learning a language merely from his books, with nothing to recall its accents in the daily life around him. If he will listen to Mr. Blackburn he may get rid of all these uncongenial surroundings.'—Saturday Review.

'This it a particularly pretty boor, containing many exquisite illustrations and vignettes. Mr. Blackburn's style is occasionally essentially poetical, while his descriptions of mountain and valley, of sea and sky, of sunshine and storm, are vivid and picturesque.'—Examiner.

'Mr. Blackburn is an artist in words, and can paint a picture in a paragraph. He delights in the beauty of form and colour, in the perfume of flowers, in the freedom of the desert, in the brilliant glow and delicious warmth of a southern atmosphere.'—Spectator.

'This is a genuine book, full of character and trustworthiness. The woodcuts, with which it is liberally embellished, are excellent, and bear upon them the stamp of truth to the scenes and incidents they are intended to represent. Mr. Blackburn's views of art are singularly unsophisticated and manly.'—Leader.

'Interesting as are Mr. Blackburn's ascriptions of Algiers, we almost prefer those of the country beyond it. His sketches of the little Arab village, called the Bouzareah, and of the storm that overtook him there, are in the best style of descriptive writing.'—London Review.

'Mr. Blackburn is an artist and a lover of nature, and he pretends to nothing more in these gay and pleasing pages.'—Daily News.

'Since the days of Eöthen, we have not met with so lively, racy, gossiping, and intellectual a book as this.'—News of the World.

'The reader feels, that in perusing the pages of "Artists and Arabs," he has had a glimpse of sunshine more intense than any ever seen in cloudy England.'—The Queen.

'The narrative is told with a commendable simplicity and absence of self display, or self boasting; and the illustrations are worthy the fame of a reputable British artist.'—Press.

'The sparkling picturesqueness of the style of this book is combined with sound sense, and strong argument, when the author pleads the claims and the beauties of realism in art; and though addressed to artists, the volume is one of that most attractive which hat been set before the general reader of late.'—Contemporary Review.

&c. &c. &c.

Bythe lateJohn Phillip, R.A., E. LUNDGREN, WALTER SEVERN,and theAUTHOR.

'This pleasant volume, dedicated to the Right Hon. E. Horsman, M.P., by his late private secretary, admirably fulfils its author's design, which was "to record simply and easily, the observations of ordinary English travelers visiting the principal cities of Spain." The travellers whose adventures are here recorded were, however, something more than ordinary observers. Some artists being of the party, have given graceful evidence of their observations in some spiritedly sketches of Spanish scenes and Spanish life. There are no less than nineteen of these illustrations, some by John Phillip, R.A.; and the ornaments at the beginning and close of each chapter are fac-similes of embroideries brought from Granada. The whole volume, in its getting up and appearance, is most attractive; and the descriptions of Spanish men and women are singularly interesting.

'At the end there is anappendix of routes, &c.,which will be invaluable to all intending travellers in Spain.'—Sun.

'Mr. Blackburn's charming volume is on a different principle from that of Irving and Cayley. He does not aspire to present Spain as it affected him,—but Spain as it is. His travelling party consisted of two ladies and two gentlemen—an arrangement fatal to romance. To go out on a serenading adventure in wicked Madrid is quite impossible for Mr. Horsman's ex-private secretary, having in charge two English gentlemen. So Mr. Blackburn wisely did not go in for adventures, but preferred to describe in straightforward fashion what he saw, so as to guide others who may feel disposed for Spanish travel—and he describes capitally. He saw a couple of bull-fights, one at Madrid and one at Seville, and brings them before his readers in a very vigorous style. He has admirably succeeded in sketching the special character in each of the cities that he visited. The book is illustrated by several well-known hands.'—Press.

'A delightful book is Mr. Blackburn's volume upon "Travelling in Spain." Its artistic appearance is a credit to the publishers as well as to the author. The pictures are of the best, and so is the text, which gives a very clear and practical account of Spanish travel, that is unaffectedly lively, and full of shrewd and accurate notes upon Spanish character.'—Examiner.

'Mr. Blackburn sketches the aspect of the streets with considerable humour, and with a correctness which will be admitted by all who have basked in the sunshine of the Puerta del Sol.'—Pall Mall Gazette.

'The writer has genuine humour, and a light and graceful style, which carries the reader through the notes with increasing relish.'—Public Opinion.

'Extremely readable,—a lively picture of Spain as it is.'—London Review.

'A truthful and pleasant record of the adventures of a party of ladies and gentlemen—an accomplished and artistic little company of friends.'—Era.

'This unpretending but practical volume is very readable.'—Standard.

'Not only to be admired, but read.'—Illustrated London News.

'A lively and interesting sketch of a journey through Spain.'—Builder.

'Very useful as well as entertaining.'—Observer.

'A most amusing book, profusely illustrated.'—John Bull.

'The dullest of books—a thing of shreds and patches.'—Morning Star.

Royal 8vo.(cloth18s.,or morocco24s.)

'This handsome volume will confirm the opinion of those who hold that M. Doré's real strength lies in landscape. Mr. Blackburn's share in the work is pleasant and readable, and is really what it pretends to be, a description of summer life at French watering-places. It is abonâ fiderecord of his own experiences, told without either that abominable smartness, or that dismal book-making, which are the characteristics of too many illustrated books.'—Pall Mall Gazette.

'The author of this volume has spared no pains in his endeavour to present a work which shall be worthy of public approbation. He has secured three elements favourable to a large success,—a popular and fascinating subject, exquisite illustrative sketches from an artist of celebrity, and letter-press dictated by an excellent judgment, neither tedious by its prolixity, nor curtailed to the omission of any circumstance worth recording.'—Press.

'Mr. Blackburn has accomplished his task with the ease and pleasantness to be expected of the author of "Travelling in Spain." He writes graphically, sometimes with humour, always like a gentleman, and without a trace or tinge of false sentiment; in short, this is as acceptable a book as we have seen far many a day.'—Atheneum.

'A general, but painstaking account, by a cultivated Englishman, of the general impression, step by step, which an ordinary Englishman, travelling for his pleasure, would derive from a visit to the watering-places of the Pyrenees.'—Spectator.

'Mr. Blackburn has an eye for the beautiful in nature, and a faculty for expressing pleasantly what is worth describing; moreover, his pictures of men and manners are both amusing and life-like.'—Art Journal.

'Readers of this book will gain therefrom a great deal of information should they feel disposed to make a summer pilgrimage over the romantic ground so well described by the author.'—Era.

'One of the most exquisite books of the present year is Mr. Henry Blackburn's volume, "The Pyrenees;" it is brightly, amusingly, and intelligently written.'—Daily News.

'Few persons will be able to turn over the leaves of the pretty book before us, without a longing desire for a nearer acquaintance with the scenes which it depicts.'—Guardian.

'A pleasant account of travel and summer life in the Pyrenees.'—Examiner.

'The author has illustrated M. Gustavo Doré's engravings very successfully.'-The Times.

'This is a noble volume, not unworthy of the stately Pyrenees.—Illustrated London News.

'A singularly attractive book, well written, and beautifully illustrated.'—Contemporary Review.

LONDON: SAMPSON LOW, SON, AND MARSTON.

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