In Château Land by Anne Hollingsworth Wharton (new ebook reader .TXT) 📕

article. This convenient and economical device, which with all our travel we had never discovered, was revealed to us by the two charming Connecticut ladies whom we met at Amboise. Walter calls down blessings upon the pretty heads of these two wise New England women whenever we make a stop over between trains; and Miss Cassandra ejaculates: "It takes a Yankee, my dears, to find out the best way to do everything on the top of the earth!"

Having only ourselves to dispose of, we soon found an omnibus which conveyed us to the Place du Martroi, the soul and centre of the ancient city of Orleans, where is fitly placed an equestrian statue of Jeanne d'Arc, by Foyatier. This statue does not, however, happily suggest the Maid, as the peasant girl of Domremy is here represented with a fine Greek profile, and, as Archie noticed, with his keen horseman's eye, the charger upon which she is mounted is a race-horse and not a war-horse. It is, however, a noble and dignified memorial, on the whole, in which it differs from the grotesque affair at Chinon, and Dubray's low reliefs on the sides of the pedestal, representing important scenes in the life of the Maid, are beautiful and impressive.

Here in Orleans, the scene of Joan's first and most remarkable success, we live more completely in the life and spirit of that wonderful period than at Chinon. The marvel of it all impressed us more forcibly than ever before. That this peasant girl, young and ignorant of the art of war, by the power of her sublime faith in her heaven-sent mission and in herself as the divinely appointed one, should have wrested this city from the English, seems nothing short of the miracle that she and her soldiers believed it to be. Even that hard-headed and cold-hearted sovereign, Louis XI, was so overawed by the story of Joan's victories that he marked with tablets the little room at Domremy where she was born, and also the convent of Sainte Catherine de Fierbois, where she was received and where she found her sword with the five crosses.

We knew that the Place du Martroi was not the scene of Joan's martyrdom, and yet this wide, noble square, with her monument in the centre, from which diverge so many streets associated with her history, stood for infinitely more to us than anything we had seen at Rouen, the actual place of her martyrdom.

From the square, M. La Tour conducted us to the cathedral, which has been criticized by Victor Hugo and many others, and which we, perhaps from pure perversity, found much more harmonious than we had expected. The facade, which the local guidebook pronounces majestic, even if _batarde_ in style, is rich in decoration, and the little columns on the towers I thought graceful and beautiful, however _batarde_ they may be. Two cathedrals have stood upon the site of the present Sainte Croix, the last having been destroyed by the Huguenots, to whom are attributed the same sort of destruction that marked the course of Oliver Cromwell's army in England. It is said that the great Protestant leader, Theodore de Beze, himself blew up the four noble pillars that once supported the belfry. However this may be, and Miss Cassandra says that we are all free to believe such tales or not, as we choose, very little is left of the old edifice except the eleven chapels and the side walls. Even if Theodore de Beze destroyed the old cathedral, the building as it now stands was the work of his former chief, for it was Henry of Navarre who laid the corner stone of the new edifice, in 1601, to fulfill a vow made to Pope Clement VIII who had absolved him from the ban of excommunication.

In the side windows, in richly colored glass, is the story of the Maid of Orleans, from the day when she heard the voices and a vision appeared to her while she kept her father's sheep in the fields near Domremy, to the hour when she and her troops gave thanks for the victory of Orleans in this cathedral. On through the eventful months of her life to the sad and shameful scenes at Rouen, where the innocent and devoted Maid was burned at the stake, while France which she had delivered, and Charles whom she had crowned, made no sign, the story is told in a series of pictures. Even if of modern glass and workmanship, these windows seemed to us most beautiful, especially those on the right-hand side through which the light streamed red, yellow and blue from the jewelled panes. The window representing the crowning of Charles VII at Rheims is especially rich in color. Joan, with a rapt ecstatic expression on her face, is here to see her King crowned and with her is the banner that she loved even more than her mystic sword. Below are inscribed her own simple words, "It has been with him in the suffering, it is right that it should be with him in the glory." Ever self-effacing, it was of her beloved banner that Joan was thinking, never of herself.

The whole wonderful story is written upon these windows so plainly that any child may read it. We have been thinking of Christine and Lisa, and wishing that they were here to read it with us. They will learn of Joan of Arc in their histories, but it will never be so real to them as it is here where her great work was done, and where she is so honored. Some day we promise ourselves the pleasure of bringing the children here and going with them through all the Joan of Arc country. M. La Tour, who has made the journey, says that, as the Joan of Arc cult is increasing all the time, every spot associated with her is marked and everything most carefully preserved.

"Most interesting of all," he says, "is the little church where Jeanne worshipped. Although badly restored by Louis XVIII, the nave remains intact, and the pavement is just as it was when the bare feet of Jeanne trod its stones, in ecstatic humility, during the long trance of devotion when she felt that supernatural beings were about her and unmistakable voices were bidding her to do what maid had never dreamed of doing before. In a little chapel, beside the main edifice, is the stone fount where the infant Jeanne was baptized. Fastened to the wall there hangs a remnant of the iron balustrade, that Jeanne's hands must have rested on during the hours that she passed in rhapsody, seeing what never was seen on land or sea. A few steps from the church stands the cot where the maid was born, almost as humbly as the Christ Child. Entering through the small doorway, you see the room in which Jeanne first opened her eyes to the light. On one side stands the 'dresser,' or wardrobe, built half way into the wall, where the housewife stored the family belongings. Beside this is the iron arm which held the lamp, used during midnight watches. Beyond this general room is the alcove that served Jeanne as a sleeping-room. In this narrow chamber, more like a cell than a sleeping-room, Jeanne heard 'voices,' and dreamed her dreams."

M. La Tour's description is so interesting that we all long to follow in his footsteps and in those of the Maid, from the clump of oak trees--of which one still stands--and the "Fountain of the Voices" to the ruins of the Chateau of Vaucouleurs, where the chivalrous Robert de Baudricourt, impressed by the girl's serene confidence, gave her a letter for the King, who was at Chinon, as we know.

The Porte de France is still standing, M. La Tour tells us, through which the shepherd maid, with her four men-at-arms and her brother Jean, embarked on her perilous journey of eleven days across a country filled with roaming bands of British and Burgundian soldiers. The places are all marked, Saint-Urbain, Auxerre, Gien, Sainte Catherine de Fierbois, where Jeanne was received in the "aumonerie" of the convent, now transformed into a Mayor's office. When we come to Orleans with the children, we must try to be here on the 8th of May, when the whole city is _en fete_ celebrating the glorious victory of the Maid. Still talking over the projected Joan of Arc pilgrimage, M. La Tour led us by the Rue Jeanne d'Arc which faces the cathedral and to the Maison de l'Annonciade where Jacques Boucher, treasurer of the Duke of Orleans, received the Maid. In the court of this building, now used as a Dominican convent, is a small statue of Joan, above the well. This house is also called the Maison de Jeanne d'Arc, and in a charming Renaissance building, near by, is a collection of relics of the Maid. For some unknown reason this house is sometimes spoken of as the house of Agnes Sorel; and with about the same authority another house at the corner of the streets, Charles-Sanglier and Des Albanais, is called the _Maison de Diane de Poitiers_. This latter mansion, with its small towers and richly ornamented facade, is now an historical museum and is better known as the Hotel Cabu.

By the Rue Royale, which suddenly changes its name and becomes the Rue de la Republique after it crosses the Place du Martroi, we made our way to the Hotel du Ville, a handsome sixteenth century building of brick and stone. On a tablet upon the facade is a long inscription telling how many kings, queens and notable personages have stopped here; but what interested us much more is a statuette in bronze of Joan, the work of the Princess Marie d'Orleans, daughter of Louis Philippe. The modest, devout little maid, represented by this statue, is more like the real Joan, to our thinking, than most of the more pretentious monuments.

In the Salle des Marriages of the Hotel du Ville, we came suddenly upon souvenirs of a much later period than that of Joan, for here, in this room, Francis II died. He and Mary came here from Chenonceaux, and becoming violently ill from a malady in his ear which had tortured him for some time, the poor young king took to his bed never to rise again. His mother followed him here, and at Mary's instance the great surgeon Ambrose Pare was summoned. He wished to operate; the young Queen had full confidence in his judgment and skill, but Catherine resolutely opposed the use of the surgeon's knife, and poor Francis lingered a few days in great pain, and finally died in the arms of his wife. There is a painting in the Salle des Marriages of this sad scene; Mary is kneeling by the bedside of her husband and Catherine is seated nearby, her face cold and expressionless. It has been intimated that Catherine opposed Ambrose Pare because she wished to have poor Francis removed to make way for a son whom she could control and bend to her will; but with all her wickedness, it is impossible to believe in such a motive. One may, however, understand her ignorant horror of the use of the knife, and the superstitious terror that haunted her in view of the recent revelations of Ruggieri at Chaumont.

"I think it is quite evident what was amiss with King Francis!" exclaimed Miss Cassandra. "He was suffering from mastoiditis, of course, and Ambrose Pare was clever enough to find it out, and might have saved his life if he had been allowed to have his way. I have no patience with Catherine, and she knew what she was about when she set up her opinion against that of a great surgeon."

Archie says that to diagnose a