"The vampire is to be seen--smacking his lips--thirsting, ravening, for BLOOD. A live rabbit will be offered him; he will roll his eyes, look at the human beings present, try the bars of his cage--he cannot reach them.
En fin, a rabbit is better than nothing! Mesdames, je vous implore! Do not bring your babes within. A stern necessity--a care for the consequences would prevent me from admitting them. The sight of a human babe rouses in the vampire the sanguinary pa.s.sion to a paroxysm of frenzy. In its natural state the vampire sucks the blood of men. This vampire has sucked that of KINGS, and to have to descend to--RABBIT!"
[Ill.u.s.tration: At Vienne.]
I did not expend my sous to see the wretched bat, but I did lavish thirty centimes on the amphitrite next door. The programme was so characteristically French that I give it:--
"Amphitrite vivante. Tous les soirs au couche du soleil elle laisse son palais royal de coraux et d"algues, et sort des vagues sombres pour jouir de son amour ideal. Legere et vaporeuse comme un ange, elle caresse les ondes, et observe d"un doux regard son ideal, et replonge au fond de l"ocean. Depeindre avec quelle perfection on presente cette experience au public est impossible!!!"
Thirty centimes, reserved seats; twenty, unreserved. As it turned out, there were no seats at all, but a slushy soil on which one stood, where the water had run in under the sides of the booth, and which sightseers had, with their boots, churned into mud.
I supposed I was to see a nautilus; it was legere et vaporeux, it could not then be a seal. No, a nautilus. Thirty centimes--here goes for a sight of the nautilus. But it was touching to observe the confidence of the showman.
He refused the entrance fee.
"No, gentlemen. You shall yourselves decide whether the amphitrite is worth six sous. If you say not--go forth; I am content, but I pity you."
A piece of drugget served as a curtain, which cut off what may be termed the stage. At a signal the drugget was withdrawn, and the spectators looked into a cave, the sides made of painted calico. Beyond this was the rippling ocean, with the evening sun sparkling on it, much like the scene in "Oberon," only on a very small scale, and with no stage. At a word from the showman, Amphitrite arose. By Ginger! not a nautilus, not a seal, but a living girl of sixteen summers, in fleshings, who floated in the air, made revolutions, waved her hands, stood on her head, touching nothing, precisely as if she really were devoid of all specific gravity. Only when hand or foot touched the calico-rocks did these same rocks begin to wave about.
I supposed at the time, I suppose still, that the trick is done by means of mirrors. But _how_--I cannot conceive. Presently the hat went round for Amphitrite"s special benefit: her _amour ideal_ had something of the sordid mammon in it. As everyone put a copper into the hat, "Merci, monsieur; merci, madame!" was what she said. So that there is a difficulty in supposing that the phenomenon was achieved by reflectors. She watched and acknowledged every offering made, as she calmly folded her arms and floated in mid-air, with head on one side, observant.
I can"t explain it--I am puzzled still. I paid my thirty centimes with alacrity, so did every one else. The show was worth the money.
There was a merry-go-round--a _carousel_; the only feature in it with which I was unfamiliar was a ship, sails spread, on a pivot athwart the ring, so that it swayed as on a rolling sea when the _carousel_ was in revolution. I would not have entered that ship for twenty francs. Before the orchestrion that accompanied the merry-go-round had accomplished the first strain of Strauss"s waltz I should have been feebly calling for the steward. I observed that those silly youngsters with nautical proclivities who did scramble into the swaying ship, got out with livid lips, and did not ask to go in again.
Some years ago I was at Innspruck with a friend. We were sauntering together in the afternoon, not exactly knowing what to do with ourselves, when we found one of these _carousels_. We went farther; then I said, "We will return and go and see the Xaverianum"--a collection of paintings, mostly daubs, at Innspruck. "No," said my companion, "I don"t feel inclined for the Xaverianum, I"ll go down by the river." So we parted. Now, I had not gone far along my way in the direction of the Xaverianum, before I said to myself, "I don"t want to see the Xaverianum either; but, as my friend is away--upon my word--I am unknown here! I"ll--yes, I will--by Jove, I will--I"ll go and have a round on the whirligig."
So I retraced my steps, and, on reaching the merry-go-round, what should I behold but my friend seated on a piebald horse, with a short sword in his hand, aiming at the targets he pa.s.sed in his revolution. He was a bald-headed man, with a long grey beard. His face and head became like a beetroot when he saw me; but I comforted him. At Wurzburg, in the Episcopal palace, is a _carousel_, in which the bishop--a prince elector--was wont on rainy days to go round and round, seated in a purple velvet chair with the Episcopal arms embroidered on the curtains, and the mitre over it.
Enough of the fair. Now to graver matters; and first the temple of Augustus and Livia. I do not know whether it was that the weather was gloomy, or that the fair had set me out of tune for antiquities; but somehow this temple did not impress me as did the dear little Maison Carree at Nimes.
For one thing the stone is dingy, whereas that of Nimes is bright and white; and the proportions did not please me. I believe the knowing ones say that the Nimes temple is not proportioned according to the laws of Vitruvius, and this at Vienne is. If that be the case, then I am sorry for Vitruvius. The temple is structurally perfect--as perfect as that of Nimes.
Another object of interest is the Aiguille, a Roman obelisk seventy-six feet high. There is a square base, pierced by arches in each face, and the obelisk, or pyramid rather, stands on this. It is not very beautiful, but it is worth examining. It is thought that the monument to Marius at Pourrieres was somewhat similar.
[Ill.u.s.tration: Hurdy-Gurdy Played by an Angel.]
The cathedral of Vienne is of sandstone, and has decayed accordingly.
The west end, which was very rich, and is rich still, has suffered from corrosion in the upper part; but a firmer, less friable sandstone was fortunately employed for the lower stage, in which is the richest sculpture, and that is fairly perfect. Murray pooh-poohs this west front: "It is rich in flamboyant ornaments, but they are clumsy and without delicacy." The sculpture was adapted to the material, and any other would not have looked well. After the severe and bald west fronts in Provence, I was disposed, I suppose, to be pleased with the rich facade at Vienne. I confess that "clumsy and without delicacy" though it might be, I thoroughly enjoyed it. But that facade caught me quite by my weak point. There is a central doorway, and one into each aisle, and round the archways into these lateral doors are sculptured angels playing upon musical instruments. As I have told the reader, ancient forms of musical instruments are my hobby, or rather one of my hobbies. I at once pulled out my sketch-book and drew them; there are angels with fiddles, angels with viols--no, not hurdy-gurdys!--but tw.a.n.ged with the fingers, angels with pipes and horns, one with a harp, two with portable organs of ten pipes in each, two angels with bagpipes with single drones. Conceive of a salutation on bagpipes from the celestial choir! An angel plays the cymbals, and another with a plectrum strikes a metal disc.
[Ill.u.s.tration: Church of S. Andre-le-Bas. The Tower.]
The interior of the cathedral is remarkable for the peculiarly fine sculpture of the capitals of the pillars. The foliage is of exquisite loveliness and variety; but over the transept door is a very Brueghel creation of horrors--in fact, the zodiacal signs worked up together into a nightmare.
A church of remarkable interest in Vienne is S. Andre-le-Bas; it has in it two Roman marble Corinthian columns supporting the arch of the apse, and a Corinthian capital used as a font.
The situation of Vienne is remarkable, it resembles one of the towns on the Rhine, where the river is contracted among hills.
The mountains rise immediately behind the city, and are crowned with old castles. The s.p.a.ce between the river and the bases of the heights is small, and the city is somewhat cramped accordingly. But the Gere issues from the hills on the north, and gives some scope for the suburbs of the old town to creep up its banks.
Vienne is one of the most ancient towns of Gaul, it was the capital of the Allobroges; it claims as the founder of the Church there Crescens, disciple of S. Paul. Crescens, it will be remembered, was sent by Paul into Galatia.
That was quite sufficient for these Gallic enthusiasts, who desired to give to the French bishoprics Apostolic founders. They supposed that Galatia was a slip of the pen for Gallia, and argued, if to Gallia, then to Vienne, the most ancient and important city therein, _q.e.d._ But no bishop of Vienne appears fixed with any certainty before Verus, who attended the Council of Arles in A.D. 314. It is, however, quite certain that the Church was founded there before A.D. 150; for one of the most precious and authentic records of the early Church we have is the letter written by the Vienne Christians to those of the East, recording the martyrdom of the bishop Pothinus of Lyons.
[Ill.u.s.tration: Porte de l"Ambulance, Vienne.]
It used to be said of the old Gallo-Roman city that its wealth was so great that the streets were paved with mosaic. Now one would be thankful for a bit that was smooth. The pavement is almost as bad as that of Arles.
CHAPTER XXII.
BOURGES.
The siege of Avaric.u.m by Caesar--The complete subjugation of Gaul--The statue of the Dying Gaul at Rome--Beauty of Bourges--The cathedral--Not completed according to design--Defect in height--Strict geometrical proportion in design not always satisfactory--Necessity of proportion for acoustics--Domestic architecture in Bourges--The house of Jacques Coeur--Story of his life--A rainy day--Why Bourges included in this book--A silver thimble--_Que de singeries faites-vous la, Madeleine?_--Adieu.
Bourges stands in the very forefront of Gaulish history marked by a great disaster. There, on a little height at the junction of the Yevre and the Auron, the gallant Bituriges had their capital, Avaric.u.m. In six campaigns Caesar had, as he believed, broken the neck of all resistance, and Gaul was under the iron heel of Rome. "My aunt Julia," said Caesar, "is, maternally, the daughter of kings; paternally--" he pa.s.sed his fingers through his curled and scented locks--"paternally, she is descended from the immortal G.o.ds." After that, even barbarians must feel that it was in vain to strive against a man thus preordained to mastery. Yet they did not see it.
When Julius Caesar was in Rome, after six years of stubborn conflict, after incredible suffering and bloodshed, the heart of the people though bowed down was not broken.
There lived among the Arvernians, in the high mountainland, among the volcanic peaks of Auvergne, as it is now called, a young chief, whose real name is not known, but whom history calls Vercingetorix, that is, Head over a Hundred Tribes. The time was come for an united, determined, and desperate resistance. He sent messengers throughout Gaul. The downtrodden inhabitants rose to a man and invested Vercingetorix with the chief command.
In the year of Rome 702, B.C. 32, Caesar was suddenly informed in Italy that his work of six years was threatened with ruin. Most of the Gallic nations, united under a chieftain hitherto unknown, were rising with one common impulse, and recommencing war.
Caesar at once returned to Gaul. He had one quality, rare even amongst the greatest men, he remained cool amidst the hottest alarms. He was always quick, never hasty. He placed himself at the head of his troops, and, in the early part of March, moved to what is now Sens, the very centre of revolt, and looked round to decide where first to strike.
Vercingetorix from the outset knew that the ill-armed and worse disciplined Gauls could not cope in the open field with Caesar and the Roman legions; he therefore formed a plan of campaign that required great sacrifices on the side of the Gauls, for the sake of the common safety. No walls, he a.s.sured the confederates, could withstand the skill of the Romans in engineering, no array maintain itself in the field against their phalanx. But he reminded them that through the winter and early spring the soil on which the enemy trod could not furnish him with provision. He must disperse his troops among the fortresses. Let then, said he, no further attempts be made to defy the Roman in the open field; let him rather be followed in detail, and cut off when separated into cantonments, and above all, let the towns that served him for magazines be destroyed by the hands of the inhabitants themselves. He recommended in fact the very course pursued more than eighteen hundred years later by the Russians against the French Caesar, a course which proved fatal to him.
The a.s.sembled council of Gaulish states a.s.sented gallantly to this proposal. In one day twenty cities of the Bituriges were flaming, and similar havoc was made throughout the territories of the allies. But when the fate of Avaric.u.m (Bourges) came to be discussed, the hearts of the Bituriges failed them. Their deputies knelt to the a.s.sembled chiefs and interceded for the preservation of their beautiful, and as they deemed it, impregnable city. The council yielded. In vain did Vercingetorix urge them to carry out their determination without exception. They would surrender every other city to the flames, but not their loved capital, not Avaric.u.m.
The situation was admirably calculated for defence. It stood on rising ground, and the only approach to it then was a causeway between the river and a mora.s.s. The garrison laboured night and day to strengthen their defences with earthworks and with palisades of sharpened stakes. The Romans at once moved from Sens and surrounded the place. The story of its fall I will take from the graphic pen of Dean Merivale:--"Whilst the Bituriges within their city were hard pressed by the machinery which the Roman engineers directed against their walls, the forces of the proconsul on their side were hara.s.sed by the fatigues of the siege and the scarcity of provisions. Caesar is lavish of praise in speaking of the fort.i.tude with which his soldiers bore their privations; they refused to allow him to raise the siege, and when he at last led them against the enemy"s army, and finding it too strongly posted for an attack, withdrew them again within their lines, they submitted to the disappointment, and betook themselves once more without a murmur to the tedious operations of the blockade.
The skill of the a.s.sailants at length triumphed over the bravery of the defenders. The walls were approached by towers at various points, and mounds constructed against which the combustible missiles of the besieged were unavailing. Finally, a desperate sally was repulsed, and then, at last the constancy of the Bituriges began to fail. Taking advantage of a moment when the watch on the walls had relaxed its vigilance, Caesar marshalled his legions behind his works, and poured them suddenly against the opposing ramparts. They gained the summit of the walls, which the defenders abandoned without a blow, rallying, however, in the middle of the town, in such hasty array as the emergency would allow. A b.l.o.o.d.y struggle ensued; both parties were numerous, and the a.s.sailants gave no quarter. The Gauls were routed and exterminated, their women and children mercilessly slaughtered, and the great central city of Gaul fell into the hands of the conquerors without affording a single captive for their triumph." After that the fate of the insurrection was sealed. The war was carried on with fluctuations of fortune even into an eighth campaign, and then the yoke of Rome, iron, and doubly weighted with the wrath of the conqueror, was riveted on to the neck of prostrate Gallia, never again to be shaken off.
[Ill.u.s.tration: A street corner, Bourges.]
Now, day after day at Rome during the winter had I stood before the Dying Gaul in the Capitoline Museum, that statue of incomparable pathos:--
"He leans upon his hand--his manly brow Consents to death, but conquers agony, And his drooped head sinks gradually low-- From the red gash fall heavy, one by one, Like the first of a thunder-shower; and now The arena swims around him--he is gone, Ere ceased the inhuman shout which hailed the wretch who won."
_Childe Harold._
The statue is not of a Dying Gladiator, but of a Gaulish chief, who has dealt himself the death-wound rather than fall into servitude to the Roman, and then has broken his sword.
And, after having looked and dreamed over that figure, could one come to Bourges and not think of that heroic and fatal struggle?
Bourges was a beautiful city in those times, loved by the Bituriges so that they could not resolve to destroy it; but oh! how beautiful it is now, with its quaint Mediaeval and Renaissance houses, and above all that most glorious cathedral, one of the very finest creations of art in the world.
And yet, it is not perfect. The original design was not carried out. The nave has not the height proposed. Funds failed, and it was finished off as best might be. It wants about forty-six feet of the height it should have had, to be in correct proportion. The flying b.u.t.tresses outside were designed and executed to carry a vaulting some forty-six feet higher than the present one, and they are now of no use; they sustain nothing, all the outward thrust of the central vault is thrown on the second stage of b.u.t.tresses. Fine as is the interior, it ought to be finer. The clerestory windows are dwarfed, and the height of the side aisles is felt to be out of all proportion to that of the nave. Moreover, there is nothing of the wonderful skill of design in the apsidal chapels, that is seen at Amiens, Vezelai, Beauvais, &c. Instead of forming an integral portion of the plan, they are mere excrescences in the sides of the apse.
However, in spite of defects, partly in design, but mainly through lack of means to carry it out, the cathedral of Bourges is of singular beauty. In one point the architect was a greater man than the designers of Amiens and Cologne. These two cathedrals are in strict proportion in all their parts.
The designer of each, like the architect of York Minster, was a great man with the compa.s.ses. But an architect should be artist as well as geometrician. I have ever felt in York Minster, in Amiens and Cologne, that there is a lack of genius, of the human soul in the creation.