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

enter the poorest little general shop, and you are reminded of the art that made the city famous hundreds of years ago, an art introduced by a Duke of Mantua, relation of Catherine de Medicis. It was in the sixteenth century, that this feudal lord of the Nivernais summoned Italian potters hither, among these a native of Faenza. Under his direction a manufactory of faience was established, the ware resembling that of his native city, scriptural and allegorical subjects traced in manganese. The unrivalled blue glaze of Nevers is of later date. Just as Rouen potters were celebrated for their reds, the Nivernais surpassed them in blues. No French or foreign potters ever achieved an azure of equal depth and purity.

The golden age of Nevers majolica belongs to that early period, but the highly ornamented faience now produced in its ateliers, shows taste and finish, and in the town itself may be found charming things as cheap as, if not cheaper than, our commonest earthenware.

As I write, I have before me some purchases made at a small general dealer's, a plate, and two small amphora-shaped vases, costing a few sous each. The colouring of this cheap pottery is very harmonious, and the glaze remarkable for its brilliance. The shopwoman, with whom we had a pleasant chat, did not seem astonished at our admiration for her goods.

"I sell lots of such things as you have just bought, to folks like you" _(de votre genre)_, she said, "strangers who like to carry away a souvenir of the place, and all my ware comes from the same manufacture."

To-day Nevers thrives upon ornamental majolica. A hundred and ten years ago it throve upon plates and dishes commemorating the Revolution. In the upper storey of the Ducal Palace we may read revolutionary annals in faience, every event being memorialised by a piece of porcelain.

Curious enough is this record in earthenware, one stormy day after another being thus commemorated; and perhaps more curious still is the evident care with which these fragile objects have been preserved. Throughout the Napoleonic era they might pass--had not gold pieces then on one side the portrait of "Napoleon Empereur," on the obverse "Republique Francais"?--but when Louis XVIII was brought back by his foreign friends, how was it that there came no general smashing, a great flinging of revolutionary potsherds to the dunghill? Safe enough now is the Nivernais collection, under the roof of the Ducal Palace, the rude designs and commonness of the ware strikingly contrasted with the exquisite things around.

In close proximity to these cheap plates, dedicated to the Phrygian cap and sans-culottism, are the very choicest specimens of Nevers faience of priceless value. Why the municipality, as a rule so generous towards the public, should thus inconveniently house its treasure, is inconceivable.

The museum is reached by a long spiral staircase, without banister or support, and a false step must certainly result in a broken leg, or, perhaps, neck! The room also contains a striking portrait of Theodore de Beze, the great French reformer, who, then an aged man, penned a letter, sublime in its force and simplicity, to Henry IV., conjuring him not to abandon the Protestant faith. The mention of this fact recalls an interesting experience. I here allude to the incontestable advance of Protestantism in France. The traveller whose acquaintance with the country began a quarter of a century ago, cannot fail to be impressed with this fact. Alike in towns large and small, new places of worship have sprung up, Nevers now possessing an Evangelical church. And good was it to hear the appreciation of the little Protestant community from my Catholic landlady.

"Yes," she said, "the Protestants here are worthy of all respect (_dignes gens_) and the pastor also; I esteem him much." Evidently the Lemaitre-Coppee-Deroulede dictum, "Only the Catholic can be called a Frenchman," is not accepted at Nevers.

In dazzlingly brilliant weather, and amid glowing scenery, we continued our journey to Moulins, as we travelled by rail, and not by road unable to identify "the little opening in the road leading to a thicket" where Sterne discovered Maria. Has anyone ever identified the spot I wonder, poplar, small brook and the rest?

Too soon were we also for "the heyday of the vintage, when Nature is pouring her abundance into everyone's lap." For the vintage, indeed, one must go farther. Sterne must have been thinking of Burgundy when he penned that line, or the phylloxera has brought about a transformation, vineyards here being changed into pastures. The scenery of the Allier, like that around Autun, recalls many parts of England. Meadows set around with hedges; little rises of green hill here and there; cattle browsing by quiet streams; just such pictures as we may see in our own Midlands. I well remember a remark of the late Philip Gilbert Hamerton on this subject. We were strolling near his home, in the neighbourhood of Autun, one day, when he pointed to the landscape over against us.

"How like that is to many an English scene," he said; "and maybe it was the English aspect of this region that tempted me to settle here." I had paid Moulins a hasty visit many years before, but, unlike Nevers and so many French towns, the _chef-lieu_ of the Allier does not improve upon further acquaintance. And I surmise, that such is the impression of my country people generally. English travellers must be few and far between at Moulins, or why should the appearance of two English ladies attract so much curiosity? Wherever we went, the good folks of Moulins, alike rich and poor, turned round to have a good look at us, even stopping short to stare. All this was done without any rudeness or remark, but such extraordinary behaviour can only be accounted for by the foregoing supposition. For some reason or other our compatriots do not, like Sterne and Maria go to Moulins.

Why should an essentially aristocratic place be so ill-kept, not to say dirty? The town is no centre of industry. Tall factory chimneys do not disfigure its silhouette or blacken its walls. Handsome equipages enliven the streets. But the municipality, like certain saints of old, seem to have taken vows of perpetual uncleanliness. Alike the scavenger's broom and the dust-cart appear to be unknown.

Whilst a riverside walk at Nevers presents nothing but cheerful bustle and an aspect of prosperity, here you approach the Allier through scenes of squalor and torpid neglect. The poorer inhabitants, too, are very un-French in appearance, wanting that personal tidiness characteristic of their country people in general. An aristocratic place, means an Ultramontane place, and every third man you meet in Moulins wears a soutane. What so many cures, Jesuits and Christian Brothers can find to do passes the ordinary comprehension.

However interesting twins may be in the human family, monumental duality is far from successful. Unfortunately for this delightfully picturesque old town, its graceful Cathedral has, in the grand new church of Sacre-Coeur, a double. But--


"As moonlight unto sunlight, and as water unto wine,"


is the second self, the never to be obliterated shadow of the first and far more beautiful church.

Two towers of equal height, twice two spires like as cherries and in close juxtaposition rise above the town, an ensemble spoiling the symmetry of outline and general effect.

How much better off was Moulins when, instead of four spires, she gloried in two? Then, of a verity, the city would have presented as noble a view as those of La Charite and Nevers from the Loire.

The ancient chateau now used as a prison and the Jacquemart or clock tower are rare old bits of architecture, of themselves worth the journey to Moulins. Jacquemart, it may be here explained, is a corruption of Jacques Marques, the name of a famous Flemish clockmaker who lived in the fourteenth century. Amongst other achievements of this artist is the clock of Notre Dame, Dijon, as curious in its way as the still more celebrated cock-crowing time-piece of Strasburg, and declared by Froissart to be the wonder of Christendom. World-wide became the reputation of Jacques Marques, and thus it came about that clock towers generally were called after his masterpieces.

On my former hurried visit to Moulins, as was the case with my predecessor, Arthur Young over a hundred years before, "other occupations" had "driven even Maria and the poplar from my head, and left me no room for the Tombeau de Montmorenci." In other words, I had visited Rome without seeing the Pope.

On this second, and more leisurely visit, I had ample opportunity of making up for the omission. Truly, the tomb of the last Montmorency deserves a deliberate examination. It is one of the most sumptuous monuments in the world and as a testimony of wifely devotion worthy to be ranked with that of the Carian Queen to her lord, the Mausolus, whose name is perpetuated in the word mausoleum.

French history cannot be at everyone's fingers' ends, so a word here about the last of the Montmorencys, victim not so much of Richelieu's policy as of a kinsman's meanness.

When the dashing, devil-me-care, hitherto fortunate Henri de Montmorency, Marshal of France and Governor of Languedoc, plotted against Richelieu or rather against the Royal supremacy, it was mainly at the instigation of Gaston of Orleans. No more abject figure in French annals than this unworthy son of the great Gascon, Henri IV., thus portrayed by one whose tongue was as sharp as his sword: "Gaston of Orleans," wrote Richelieu, "engaged in every enterprise because he had not the will to resist persuasion, dishonourably drawing back from want of courage to support his associates."

In the conspiracy of Montmorency, Gaston had played the part of instigator, leaving the other to his fate as soon as the situation became perilous. Every effort was made to save the duke, but in vain, and at the age of thirty-seven he ended a brilliant, adventuresome life on the scaffold at Toulouse.

One thought was uppermost in my mind when, a few years ago, I visited that city, the only French city that welcomed the Inquisition. As I stood in the elegant Capitol, musing on Montmorency's story, it occurred to me how few of us realise what a respecter of persons was French law under the ancien regime. Hard as seems the fate of this dashing young duke, we must remember what would have been his punishment, but for his titles of nobility. Death swift and sudden, in other words, by decapitation, was the choicest prerogative of the nobility; tortures before and after condemnation, breaking on the wheel, burning alive, and other hideous ends, being the lot of the people.

This monument, so noteworthy alike from a historic and artistic point of view, was saved from destruction by ready wit. When, in the ferment of revolution, the iconoclastic spirit had got the upper hand, a citizen of Moulins met a mob, bent on destroying what they supposed to be the tomb of some hated grand seigneur, oppressor of the poor. Following the rabble to the convent, no sooner did he see the mallet and hammer raised than this worthy bourgeois, who himself deserves a monument, shouted, "Hands off, citizens! Yonder reposes no aristocrat, but as good a citizen as any man-jack of you, aye, who had the honour of losing his head for having conspired against a King."

The crowd melted away without a word, the monument remains intact, and generations have had bequeathed to them an example of what presence of mind may effect, not with nerve, sinew, or bodily prowess, but with the tongue. The Convent of the Visitation, to which Montmorency's widow retired, and in the chapel of