East of Paris by Matilda Betham-Edwards (moboreader .txt) 📕

which she raised this memorial, is now converted into a Lycee. It is a handsome building and was built by Madame de Chantal, foundress of the Order of Visitadines, or nuns whose office it was to visit the sick. This pious lady, the friend of St. Francois de Sales, and herself canonised by Pope Benoit XIV., was the bosom friend of Felicia Orsini, Montmorency's wife, who succeeded her as Superior of the convent on her death.

But even an abbess, who had taken the veil, could not refuse visits, some of which must have been as a second entering of iron into this proud woman's soul. The coward Gaston, when passing through Moulins, sought an interview. Richelieu, also, whose emissary received the following message: "Tell your master, that my tears reply for me and that I am his humble servant." Years after, Louis XIV. visited the once beautiful and high-spirited Italian, now an aged abbess occupying a bare cell and from his lips, despot and voluptuary though he was, might always be expected the right word in the right place. "Madame," he said, on taking leave, "we may learn something here. I need not ask you to pray for the King."

But interest in personalities is leading me from what I have set myself to describe, namely, portraiture in marble. For this magnificent work thus perpetuates the last of the Montmorencys and his wife as they were when separated for ever in their prime. Imposing although the monument is as a whole, these two figures in white marble, standing out against a dark background, engross attention. The entire work covers the wall behind the high altar, the sculptures being in pure white marble, the framework in black. Dismissing the niched Mars and Hercules on the one side, the allegorised Religion and Charity on the other, we study the central figures both offering interest of quite different kind.

Why a dashing soldier and courtier of the Renaissance should be represented in the guise of a Roman warrior, is an anomaly, irreconcilable as that of pagan gods and the personification of Christian attributes here placed vis-a-vis. Perhaps the grief-stricken wife, who was, as it appears, of a highly romantic and adventuresome turn, wished thus to commemorate the heroic qualities of her husband; she might also have wished to dissociate him altogether from his own time, a period of which, in her eyes, he would be the victim. Be this as it may, the Roman undress and accoutrements do not harmonise with a physiognomy essentially French and French of a given epoch. Whilst the interest aroused by the Duchess's effigy is purely artistic, that of her husband excites curiosity rather than admiration. The head is strangely poised, much as if the artist intended to suggest the fact of decapitation; obliquity of vision, a defect hereditary in the Montmorencys, is also indicated, adding singularity. The half-recumbent figure by the Duke's side, is of rare pathos and beauty. Almost angelic in its resignation and religious fervour is the upturned face. The drapery, too, shows classic grace and simplicity, as strongly contrasted with the martial travesty opposite as are the two countenances in expression.

Long will art-lovers linger before this monument raised by wifely devotion, a monument, with so many another, perpetuating rather the devotion of the survivor than claims on posterity of the dead. And let not hasty travellers follow Arthur Young's example, jotting down, after a visit to Moulins, "No room for the Tombeau de Montmorenci."


CHAPTER XII.


SOUVIGNY AND SENS.

A quarter of an hour by rail, an hour and a quarter by road, from Moulins lies Souvigny, the cradle of the Bourbons, and as interesting and delightful a little excursion as travellers can desire. On a glowing September morning the scenery of the Allier looked its very best. Never as long as I live shall I forget the beauty of that drive. Lightest, loveliest cumuli floated athwart a pure, not too dazzlingly blue sky, before us stretched avenue after avenue of poplar or plane trees, veritable aisles of green letting in the azure, reminding me of the famous Hobbema in our National Gallery. At many points the landscape recalled our native land; but for the white oxen of the Morvan, we might have fancied ourselves in Sussex or the Midlands. And cloudage, to borrow an expression of Coleridge, suggested England, too. Clouds and skies of the Midlands, none more poetic or pictorial throughout England seemed here--those skies above the vast sweeps of undulating chalk having a peculiar depth and tenderness, the clouds a marvellous brilliance, transparence, and variety of form! So beautiful are those cloud-pictures that we hardly needed beauty below. Here on the road to Moulins we had both, the landscape, if not romantic or striking, being rich in pastoral charm. Arthur Young, who looked at every bit of country first and foremost from the farmer's point of view, was so much struck with the neighbourhood of Moulins that, but for the Revolution, he would very probably have become a French landowner. Just eight miles from the city he visited in August, 1789, an estate was offered for sale by its possessor, the Marquis de Goutte. "The finest climate in France, perhaps in Europe," he wrote, "a beautiful and healthy country, excellent roads, and navigation to Paris; wine, game, fish, and everything appears on the table except the produce of the tropics; a good house, a fine garden, with ready markets for every kind of produce; and, above all the rest, three thousand acres of enclosed land, capable in a very little time of being, without expense, quadrupled in its produce--altogether formed a picture sufficient to tempt a man who had been twenty-five years in the constant practice of husbandry adapted to the soil." The price of the whole was only thirteen thousand and odd pounds, and the seller took care to explain that "all seigneurial rights _haute justice_" (that is to say, the privilege of hanging poachers, and others, at the chateau gates), were included in the purchase money. But the country was already in a ferment, and had our countryman struck a bargain then and there, the last-named extras would have proved a dead letter. Seigneurial rights were being abolished, or rather surrendered, at the very time that this transaction was under consideration. As Arthur Young tells us, he might as well have asked for an elephant at Moulins as for a newspaper. No one knew, or apparently cared to know, what was taking place in Paris. On asking his landlady for a newspaper, she replied she had none, they were too dear. Whereupon the irate traveller wrote down in his diary: "it is a great pity that there is not a camp of _brigands_ in your coffee room, Madame Bourgeau."

This part of France is not a region of prosperous peasant farmers, nor is it a chess-board of tiny crops, the four or five acre freeholds of small owners cut up into miniature fields. I had a long talk with a countryman, and he informed me that, as in Arthur Young's time, the land belongs to large owners, and is still, as in his time, cultivated by _metayers_ on the half-profit system. At the present day, however, another class has sprung up, that of tenant farmers on a considerable scale; these, in their turn, sublet to peasants who give their labour and with whom they divide the profits. Now, the half-profit system does certainly answer elsewhere; in the Indre, for example, it has proved a stepping-stone to the position of small capitalist. Here I learned, with regret, that such is not the case. Land, even in the highly-favoured Allier, cannot afford a triple revenue. In the Indre, on the contrary, there is no intermediary between land-owners and _metayers_, the former even selling small holdings to their labourers as soon as they have saved a little capital.

"No; folks are not prosperous hereabouts," said my informant. "There are no manufacturers at Moulins to enrich the people, and, what with high rents and low prices, the half-profit system does not pay. If money is made, it is by the tenant-farmer, not by the _metayer_." Curious and instructive is the fact that the most Catholic and aristocratic centres in France should often be the poorest; Moulins and the Allier afford but one example out of many.

A beautiful drive of an hour and a quarter brought us within sight of Souvigny. Towering above the bright landscape rose the Abbey Church, its sober dun, red and brown hues, the quaint houses of similar colour huddled around it, contrasted with the dazzling brightness of sky and verdure.

Still more striking the contrast between the pile so majestic and surroundings so homely! Here, as at La Charite, nothing is in keeping with the mass of architecture, which, in its apogee, stood for the town itself, what of town, indeed, there was being the merest accessory, inevitable but unimposing entourage, growing up bit by bit. The present population of Souvigny is something over three thousand, doubtless, as in the case of La Charite, less than that of its former monastery and dependencies. As we wind upwards, thus flanking the town and abbey, we realise the superb position of this cradle and mausoleum of the Bourbons. For Souvigny was both. Two thousand and odd years ago, here, in the very heart of France, Adhemar, a brave soldier, nothing more, became the first "Sire de Bourbon," Charles le Simple having given him the fief of Bourbon as a reward for military services, its chief establishing himself at Souvigny, and of course founding a religious house. The Benedictine abbey, being enriched with the bones of two saints, former Abbots of Cluny, became a famous pilgrimage. Adhemar's successors transferred their seat of seigneurial government to Bourbon l'Archimbault, but for centuries here they found their last resting-place, and here they are commemorated in marble.

Indescribably picturesque is this whilom capital of the tiny feudal kingdom; topsy-turvy, higgledy-piggledy, coated of many colours are its zig-zag little streets, one house tumbling on the back of its neighbour, another having contrived to wedge itself between two of portlier bulk, a third coolly taking possession of some inviting frontage, shutting out its fellow's light, air, and sunshine; here, meeting the eye, breakneck alley, there aerial terrace, and on all sides architectural reminders of the Souvigny passed away, the Souvigny once so splendid and important, now reduced to nothingness, as is, politically speaking, the so-called House of France.

The Abbey Church, like that of La Charite, shows a mixture of many styles, the general effect being magnificent in the extreme. Throughout eastern France you find no more imposing facade. But, as observes M. Emile Montegut, in the work before quoted, the church has been created as Nature creates a soil, each age contributing its layer; Byzantine, Roman, Gothic, each style is here seen, the latter in its purity.

Whilst the church itself stands taut and trim, a mass of sculptured masonry in rich browns and reds, the interior shows melancholy dilapidation. But, indeed, for the stern lessons of history, how sad were the spectacle of these mutilated effigies in marble, exquisite sculptures when fresh from the artist's hand, to-day torsos so hideously hacked and hewn as hardly to look human! We cannot, however, forget that the history of races, as of nations and individuals, is retributive. When the 'Roi-Soleil,' that incarnation of the Bourbon spirit, was so inflated with his own personality as to forbid the erection of any statue throughout France but his own, he paved the way for the revolutionary iconoclasts of a century later. It was simply a recurrence of the old fatality, the inevitable moral, since History began.

For here, defaced to such a point that sculptures they can be called no longer, are memorialised not only Louis XIV.'s ancestors, but his offspring,