Beatrix by Honoré de Balzac (graded readers .txt) 📕

same effect upon the mind as a sleeping-draught upon the body. It is silent as Venice. There is no other public conveyance than the springless wagon of a carrier who carries travellers, merchandise, and occasionally letters from Saint-Nazaire to Guerande and _vice versa_. Bernus, the carrier, was, in 1829, the factotum of this large community. He went and came when he pleased; all the country knew him; and he did the errands of all. The arrival of a carriage in Guerande, that of a lady or some invalid going to Croisic for sea-bathing (thought to have greater virtue among those rocks than at Boulogne or Dieppe) is still an immense event. The peasants come in on horseback, most of them with commodities for barter in sacks. They are induced to do so (and so are the _paludiers_) by the necessity of purchasing the jewels distinctive of their caste which are given to all Breton brides, and the white linen, or cloth for their clothing.

For a circuit ten miles round, Guerande is always GUERANDE,--the illustrious town where the famous treaty was signed in 1365, the key of the coast, which may boast, not less than the village of Batz, of a splendor now lost in the night of time. The jewels, linen, cloth, ribbon, and hats are made elsewhere, but to those who buy them they are from Guerande and nowhere else. All artists, and even certain bourgeois, who come to Guerande feel, as they do at Venice, a desire (soon forgotten) to end their days amid its peace and silence, walking in fine weather along the beautiful mall which surrounds the town from gate to gate on the side toward the sea. Sometimes the image of this town arises in the temple of memory; she enters, crowned with her towers, clasped with her girdle; her flower-strewn robe floats onward, the golden mantle of her dunes enfolds her, the fragrant breath of her briony paths, filled with the flowers of each passing season, exhales at every step; she fills your mind, she calls to you like some enchanting woman whom you have met in other climes and whose presence still lingers in a fold of your heart.

Near the church of Guerande stands a mansion which is to the town what the town is to the region, an exact image of the past, the symbol of a grand thing destroyed,--a poem, in short. This mansion belongs to the noblest family of the province; to the du Guaisnics, who, in the times of the du Guesclins, were as superior to the latter in antiquity and fortune as the Trojans were to the Romans. The Guaisqlains (the name is also spelled in the olden time du Glaicquin), from which comes du Guesclin, issued from the du Guaisnics.

Old as the granite of Brittany, the Guaisnics are neither Frenchmen nor Gauls,--they are Bretons; or, to be more exact, they are Celts. Formerly, they must have been Druids, gathering mistletoe in the sacred forests and sacrificing men upon their dolmens. Useless to say what they were! To-day this race, equal to the Rohans without having deigned to make themselves princes, a race which was powerful before the ancestors of Hugues Capet were ever heard of, this family, pure of all alloy, possesses two thousand francs a year, its mansion in Guerande, and the little castle of Guaisnic. All the lands belonging to the barony of Guaisnic, the first in Brittany, are pledged to farmers, and bring in sixty thousand francs a year, in spite of ignorant culture. The du Gaisnics remain the owners of these lands although they receive none of the revenues, for the reason that for the last two hundred years they have been unable to pay off the money advanced upon them. They are in the position of the crown of France towards its _engagistes_ (tenants of crown-lands) before the year 1789. Where and when could the barons obtain the million their farmers have advanced to them? Before 1789 the tenure of the fiefs subject to the castle of Guaisnic was still worth fifty thousand francs a year; but a vote of the National Assembly suppressed the seigneurs' dues levied on inheritance.

In such a situation this family--of absolutely no account in France, and which would be a subject of laughter in Paris, were it known there--is to Guerande the whole of Brittany. In Guerande the Baron du Guaisnic is one of the great barons of France, a man above whom there is but one man,--the King of France, once elected ruler. To-day the name of du Guaisnic, full of Breton significances (the roots of which will be found explained in "The Chouans") has been subjected to the same alteration which disfigures that of du Guaisqlain. The tax-gatherer now writes the name, as do the rest of the world, du Guenic.

At the end of a silent, damp, and gloomy lane may be seen the arch of a door, or rather gate, high enough and wide enough to admit a man on horseback,--a circumstance which proves of itself that when this building was erected carriages did not exist. The arch, supported by two jambs, is of granite. The gate, of oak, rugged as the bark of the tree itself, is studded with enormous nails placed in geometric figures. The arch is semicircular. On it are carved the arms of the Guaisnics as clean-cut and clear as though the sculptor had just laid down his chisel. This escutcheon would delight a lover of the heraldic art by a simplicity which proves the pride and the antiquity of the family. It is as it was in the days when the crusaders of the Christian world invented these symbols by which to recognize each other; the Guaisnics have never had it quartered; it is always itself, like that of the house of France, which connoisseurs find inescutcheoned in the shields of many of the old families. Here it is, such as you may see it still at Guerande: Gules, a hand proper gonfaloned ermine, with a sword argent in pale, and the terrible motto, FAC. Is not that a grand and noble thing? The circlet of a baronial coronet surmounts this simple escutcheon, the vertical lines of which, used in carving to represent gules, are clear as ever. The artist has given I know not what proud, chivalrous turn to the hand. With what vigor it holds the sword which served but recently the present family!

If you go to Guerande after reading this history you cannot fail to quiver when you see that blazon. Yes, the most confirmed republican would be moved by the fidelity, the nobleness, the grandeur hidden in the depths of that dark lane. The du Guaisnics did well yesterday, and they are ready to do well to-morrow. To DO is the motto of chivalry. "You did well in the battle" was the praise of the Connetable _par excellence_, the great du Guesclin who drove the English for a time from France. The depth of this carving, which has been protected from the weather by the projecting edges of the arch, is in keeping with the moral depth of the motto in the soul of this family. To those who know the Guaisnics this fact is touching.

The gate when open gives a vista into a somewhat vast court-yard, on the right of which are the stables, on the left the kitchen and offices. The house is build of freestone from cellar to garret. The facade on the court-yard has a portico with a double range of steps, the wall of which is covered with vestiges of carvings now effaced by time, but in which the eye of an antiquary can still make out in the centre of the principal mass the Hand bearing the sword. The granite steps are now disjointed, grasses have forced their way with little flowers and mosses through the fissures between the stones which centuries have displaced without however lessening their solidity. The door of the house must have had a charming character. As far as the relics of the old designs allow us to judge, it was done by an artist of the great Venetian school of the thirteenth century. Here is a mixture, still visible, of the Byzantine and the Saracenic. It is crowned with a circular pediment, now wreathed with vegetation,--a bouquet, rose, brown, yellow, or blue, according to the season. The door, of oak, nail-studded, gives entrance to a noble hall, at the end of which is another door, opening upon another portico which leads to the garden.

This hall is marvellously well preserved. The panelled wainscot, about three feet high, is of chestnut. A magnificent Spanish leather with figures in relief, the gilding now peeled off or reddened, covers the walls. The ceiling is of wooden boards artistically joined and painted and gilded. The gold is scarcely noticeable; it is in the same condition as that of the Cordova leather, but a few red flowers and the green foliage can be distinguished. Perhaps a thorough cleaning might bring out paintings like those discovered on the plank ceilings of Tristan's house at Tours. If so, it would prove that those planks were placed or restored in the reign of Louis XI. The chimney-piece is enormous, of carved stone, and within it are gigantic andirons in wrought-iron of precious workmanship. It could hold a cart-load of wood. The furniture of this hall is wholly of oak, each article bearing upon it the arms of the family. Three English guns equally suitable for chase or war, three sabres, two game-bags, the utensils of a huntsman and a fisherman hang from nails upon the wall.

On one side is a dining-room, which connects with the kitchen by a door cut through a corner tower. This tower corresponds in the design of the facade toward the court-yard with another tower at the opposite corner, in which is a spiral staircase leading to the two upper stories.

The dining-room is hung with tapestries of the fourteenth century; the style and the orthography of the inscription on the banderols beneath each figure prove their age, but being, as they are, in the naive language of the _fabliaux_, it is impossible to transcribe them here. These tapestries, well preserved in those parts where light has scarcely penetrated, are framed in bands of oak now black as ebony. The ceiling has projecting rafters enriched with foliage which is varied for each rafter; the space between them is filled with planks painted blue, on which twine garlands of golden flowers. Two old buffers face each other; on their shelves, rubbed with Breton persistency by Mariotte the cook, can be seen, as in the days when kings were as poor in 1200 as the du Guaisnics are in 1830, four old goblets, an ancient embossed soup-tureen, and two salt-cellars, all of silver; also many pewter plates and many pitchers of gray and blue pottery, bearing arabesque designs and the arms of the du Guaisnics, covered by hinged pewter lids. The chimney-piece is modernized. Its condition proves that the family has lived in this room for the last century. It is of carved stone in the style of the Louis XV. period, and is ornamented with a mirror, let in to the back with gilt beaded moulding. This anachronism, to which the family is indifferent, would grieve a poet. On the mantel-shelf, covered with red velvet, is a tall clock of tortoise-shell inlaid with brass, flanked on each side with a silver candelabrum of singular design. A large square table, with solid legs, fills the centre of this room; the chairs are of turned wood covered with tapestry. On a round table supported by a single leg made in the shape of a vine-shoot, which stands before a window looking into the garden, is a lamp of an odd kind. This lamp