From Montélimar to Lyons the “great north road” to Paris follows almost continuously the east shore of the Rhone, looking across at the feudal ruins that stud the opposite cliffs. The swift turns of the river, and the fantastic outline of these castle-crowned rocks, behind which hang the blue lines of the Cévennes, compose a foreground suggestive in its wan colour and abrupt masses of the pictures of Patinier, the strange Flemish painter whose ghostly calcareous landscapes are said to have been the first in which scenery was painted for scenery’s sake. In all the subtler elements of beauty, as well as in the power of historic suggestion, this Rhone landscape far surpasses that of the Rhine; but, like many of the most beautiful regions of France, it has a quality of aloofness, of almost classic reserve, that defends it from the inroads of the throng.

144 Midway to Lyons, Valence, the capital of C?sar Borgia’s Valentinois, rises above the river, confronted, on the opposite shore, by a wild cliff bearing the ruined stronghold of Crussol, the cradle of the house of Uzès. The compact little Romanesque cathedral of Saint Etienne, scantily adorned by the light exterior arcade of its nave, is seated on an open terrace overlooking the Rhone. As sober, but less mellow, within, it offers—aside from the monument to Pius VI., who ended his troubled days here—only the comparatively recondite interest of typical constructive detail; and the impressionist sight-seer is likely to wander out soon to the little square beyond the apse.

Here stands “Le Pendentif,” a curious little vaulted building of the Renaissance, full of the note of character, though its original purpose seems to be the subject of arch?ological debate. Like many buildings of this part of the Rhone valley, it was unhappily constructed of a stone on which the wear of the weather might suggest the literal action of the “tooth of Time”—so scarred and gnawed is the whole charming fabric. As to its original use, it appears to have been the145 mortuary chapel of the noble family whose arms are discernible among the incongruous animals of its decaying sculpture; for it is part of the strangeness of the little monument that the spandrils of its elegant classic order are inhabited by a rude Romanesque fauna which, combined with the dusky hue and ravaged surface of the stone, confers on it, in contrast to the rejuvenated church, a look of mysterious antiquity.

A few yards off, down a dark narrow street, the same savour of the past is found in one of those minor relics which let the observer so much deeper into by-gone institutions than the study of their official monuments. This is simply an old private house of the early Renaissance, with a narrow sculptured courtyard, a twisting staircase, and vaulted stone passages and rooms of singularly robust construction. It is still—appropriately enough—inhabited by une très vieille dame who has receded so deeply into the farthest convolution of her stout stone shell that her friendly portress had leave to conduct us from basement to attic, giving us glimpses of dusky chambers with meagre venerable furniture, and of kitchens and offices with stone floors, scoured146 coppers and pots of herbs, all so saturated with the old concentrated life of provincial France that it was like lifting to one’s lips a glass of some ancient wine just at the turning-point of its perfection.
VIENNE: GENERAL VIEW OF THE TOWN

Not far from Valence, Tournon springs romantically from a cliff of the west bank, surmounted by the ducal castle of Soubise; and the next strong impression comes where Vienne, proudest of Rhone towns, lifts its flamboyant cathedral on a vast flight of steps above the river. The site of Vienne, and its long Roman past, prepare one for more interest of detail than a closer inspection reveals. The Roman temple, which may once have rivalled the Maison Carrée, was in the Middle Ages (like the temple of Syracuse) incorporated in a Christian church, and now, extricated lifeless from this fatal embrace, presents itself as an impersonal block of masonry from which all significance of detail is gone. The cathedral, too, has suffered in the same way, though from other causes. In its early days it was savagely mutilated by the Huguenots, and since then the weather, eating deeply into its friable stone, has wrought such havoc with the147 finery and frippery of the elaborate west front that the exterior attracts attention only as a stately outline.

All the afternoon we had followed the Rhone under a cloudy sky; and as we crossed the river at Vienne the clouds broke, and we pushed northward through a deluge. Our day had been a long one, with its large parenthesis at Grignan, and the rainy twilight soon closed in on us, blotting out the last miles of the approach to Lyons. But even this disappointment had its compensations, for in the darkness we took a wrong turn, coming out on a high suburb of the west bank, with the city outspread below in a wide network of lights against its holy hill of Fourvière. Lyons passes, I believe, for the most prosaic of great French towns; but no one can so think of it who descends on it thus through the night, seeing its majestic bridges link quay to quay, and the double sweep of the river reflecting the million lights of its banks.
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It was still raining when we continued on our journey the next day; but the clouds broke as we climbed the hill above Lyons, and we had some148 fine backward glimpses of the Rhone before our road began to traverse the dull plain of the Bresse.
So rest, for ever rest, O princely pair!

If the lines have pursued one from childhood, the easiest—and, alas, the most final!—way of laying their lovely spectre is to turn aside from the road to Dijon and seek out the church of Brou. To do so, one must journey for two or three hours across one of the flat stretches of central France; and the first disillusionment comes when Brou itself is found to be no more than a faubourg of the old capital of the Bresse—the big, busy, cheese-making town of Bourg, sprawling loosely among boundless pastures, and detaining one only by the graceful exterior of its somewhat heterogeneous church.

A straight road runs thence through dusty outskirts to the shrine of Margaret of Austria, and the heart of the sentimentalist sank as we began to travel it. Here, indeed, close to the roadside, stood “the new pile,” looking as new as it may have when, from her white palfrey, the widowed Duchess watched her “Flemish carvers, Lombard gilders” at work; looking, in fact, as149 scrubbed, scraped and soaped as if its renovation were a feat daily performed by the “seven maids with seven mops” on whose purifying powers the walrus so ingeniously speculated. Matthew Arnold’s poem does not prepare the reader for the unnatural gloss which makes the unhappy monument look like a celluloid toy. Perhaps when he saw it the cleansing process had not begun—but did he ever really see it? And if so, where did he see the
Savoy mountain meadows, By the stream below the pines?

And how could he have pictured the Duchess Margaret as being “in the mountains” while she was supervising the work? Or the “Alpine peasants” as climbing “up to pray” at the completed shrine, or the priest ascending to it by the “mountain-way” from the walled town “below the pass”?

Is Bourg the walled town, and its dusty faubourg the pass? And shall we, when we pass under the traceries of the central door, and stand beneath the vaulting of the nave, hear overhead the “wind washing through the mountain150 pines”? It will have to travel a long way to make itself heard!

Poor Lady Mary Wortley Montagu, so maligned for her imaginative pictures of Lovere and Lake Iseo, may surely be forgiven for having gilded the lily, for adding an extra touch of romance where the romantic already so abounded; but it is less easy to explain how the poet of the church of Brou could evoke out of the dusty plain of the Bresse his pine-woods, streams and mountains. Perhaps (the pilgrim reflects) the explanation will be found within the church, and standing in the magic light of the “vast western window” we too shall hear the washing of the wind in the pines, and understand why it travelled so far to reach the poet’s ear.
BROU: TOMB OF MARGARET OF AUSTRIA IN THE CHURCH

In this hope we enter; but only to discover that inside also the arch?ological mops have been at work, and that the elaborate lining of the shrine is as scoured and shiny as its exterior. Well! let us affront this last disenchantment—and the little additional one of buying a ticket for the choir from a gold-braided custodian at a desk in the nave—and closing our eyes to the secularised, museumised aspect of the monument,151 try to open them to a vision of what it may have been before it was turned into a show.

Alas! even this last effort—this bon mouvement of the imagination—fails to restore an atmosphere of poetry to the church of Brou, to put it in any other light than that of a kind of superlative “Albert Memorial,” in which regardlessness of cost has frankly predominated over ?sthetic considerations. Yet it is manifestly unfair to charge the Duchess Margaret with the indiscrimination of the parvenu. One should rather ascribe to special conditions of time and place that stifling confusion of ornament, that air of being, as Bacon puts it, so terribly “daubed with cost,” which is both the first effect and the final outcome of an inspection of Brou. If Arnold gave the rein to fancy in his mise-en-scène, he was quite exact in picturing the conditions in which the monument was produced, and his enumeration of the “Flemish carvers, Lombard gilders, German masons, smiths from Spain” who collaborated in its making, reminds one that artistic unity could hardly result from so random an association of talents. It was characteristic of the time, of the last boiling-over of the heterogeneous152 Gothic pot, that this strange fellowship was not felt to be any obstacle to the production of a work of art. One sees the same result in almost all the monuments of the period, especially where the Spanish-Netherlands influence has added a last touch of profusion—and confusion. How could an art so evolved issue in anything but a chaos of overdone ornament? How could line survive in such a deluge of detail? The church of Brou is simply the most distressing because the most expensive product of the period. Expiring Gothic changed its outline as often as the dying dolphin is supposed to change his colours—every ornament suggests a convulsion in stone.

And on all this extravagance of design, which could be real redeemed only by the lightest touch of the chisel, lies the heavy hand of the Flemish sculptor. Is it possible that the same phase of artistic feeling produced the three tombs of Brou and those of the Dukes of Burgundy at Dijon? Certainly, at least, the same hand did not carve them. At Brou the innumerable subordinate figures—angels, mourners and the rest—are turned out with the unerring facility of the pastry-cook’s153 art: they represent the highest achievement in sugar and white of egg. At Dijon, on the contrary, each pleureur in the arcade beneath the tomb of Duke Philip is a living, sentient creature, a mourner whose grief finds individual utterance. Is there anything in plastic art that more vividly expresses the passionate medi?val brooding over death? Each little cowled figure takes his grief, his sense of the néant, in his own way. Some are wrung and bowed with it. One prays. Another, a serene young man, walks apart with head bent above his book—the page of a Stoic, one conjectures. And so each, in his few inches of marble, and in the confinement of his cramped little niche, typifies a special aspect of the sense of mortality—above all of its loneliness, the way it must be borne without help.
* * * * *

The thought came to one, the next day at Dijon, the more vividly by contrast to the simpering sorrow of Brou. The tombs of the dukes of Burgundy, so cruelly torn from the hallowed twilight of the Chartreuse, and exposed to the cold illumination of museum windows, give one, even in this impersonal light, a strong sense of154 personality. Even the overladen detail of the period, the aimless striving of its frets and finials, cannot obscure the serious purity of the central conception; and one is led to the conclusion that a touch of free artistic emotion will break through the strongest armour of stock formulas.

One sees them, of course, the ducal tombs, in a setting in a certain sense their own, since this privileged city, in addition to its other distinctions, has a medi?val palace for its museum, and the mailed heels of the recumbent dukes may have rung on the stone flagging of the Salle des Gardes where they now lie. But the great vaulted hall has ceased to be a guard-room, as they have ceased to be its lords, and the trail of label and number, of velvet cord and iron rail, is everywhere in their democratised palace. It is noteworthy, therefore, that, as the tombs have retained so much of their commemorative value, so the palace itself has yielded as little as might be of its private character to the encroachments of publicity: appearing almost, as one wanders from one bright room to another, like the house of a great collector who still lives among his treasures.
DIJON: MOURNERS ON THE TOMB OF JEAN SANS PEUR

155 This felicitous impression is partly due to the beauty of the old building, and partly also to the fact that it houses a number of small collections, the spoils of local dilettanti, each kept together, however diversified its elements, so that many of the rooms exhibit a charming habitable mingling of old furniture, old porcelain and the small unobtrusive pictures that are painted to be lived with, not glanced up at from a catalogue.

The impression of happy coincidences, of really providential accidents, which gives such life to the bright varied museum, persists and deepens as one passes from it into the town—the astonishing town which seems to sum up in itself almost every phase of French art and history. Even the deep soil of France has hardly another spot where the past grows so thick and so vigorously, where the ancient growths lift such hale heads to the sunlight. The continuity of life at Dijon is as striking as its diversity and its individuality. Old Dijon is not an archipelago of relics in a sea of modern houses: it is like a vascular system, binding the place together in its network of warm veins, and seeming, not to be kept alive, but to be keeping life in the city.

156 It is to this vivid synthesis of the past that one reverts from even the strongest single impressions—from the civic sumptuousness of the Palais de Justice, the elegance of the H?tel de Vogué, the mysterious symbolism of the jutting row of gargoyles on the west front of Notre Dame—suffering them to merge themselves, these and many more, into a crowded splendid tapestry, the mere background of the old city’s continuous drama of ducal, Imperial, parliamentary life.

The same impression of richness, of deep assimilated experience, accompanies one on the way north through the Burgundian province—giving to the trivial motorist, the mere snarer of haphazard impressions, so annihilating a sense of his inability to render even a superficial account of what he sees, and feels beneath the thing seen, that there comes a moment when he is tempted to take refuge in reporting the homely luxury, of the inns—though even here the abundance of matter becomes almost as difficult to deal with.

It is for this reason, perhaps, that after a morning among the hills and valleys of the157 Morvan, in sight, almost continuously, of that astonishing Burgundian canal, with its long lines of symmetrical poplars, its massive masonry, its charming lock-houses, all repeating themselves like successive states of a precious etching—that after such a morning I seek, and seem to find, its culminating astonis............