The Argosy. Vol. 51, No. 2, February, 1891

We looked upon last night's adventures as the events of a dream, though at the time they had been very painful realities. The first object in the hotel to meet our gaze was André, his face still tied up like a mummy, still looking the Image of Misery, as if he and repose had known nothing of each other since we had parted from him. He was, however, very anxious for our welfare, and hoped we had slept well on our impromptu couches.

Next, on descending, we caught sight of Madame, taking the air and contemplating the world at large at the door of her bureau. The moment we appeared the air became too strong for her, and she rapidly passed through her bureau to a sanctum sanctorum beyond, into which, of course, we could not penetrate. We looked upon this as a tacit confession of a guilty conscience, and agreed magnanimously to make no further allusion to her lapsed memory. So when we at length met face to face, she, like André, was full of amiable inquiries for our health and welfare.

We sallied forth, and whatever we thought of Morlaix last night, we thought no less of it to-day.

It is a strange mixture of ancient and modern, as we were prepared to find it. On all sides rose the steep hills, within the shelter of which the town reposes. The situation is exceedingly striking. Stretching across one end of the town with most imposing effect is the enormous viaduct, over which the train rolls towards the station. It possesses also a footway for pedestrians, from which point the whole town lies mapped at your feet, and you may trace the faraway windings of the river. The viaduct is nearly two hundred feet high, and nearly four hundred yards long, and from its position it looks even more gigantic than it is. It divides the town into two portions, as it were, the outer portion consisting of the port and harbour: and from this footway far down you may see the picturesque shipping at repose: a very modest amount to-day moored to the river side, consisting of a few barges, a vessel or two laden with coal or wood, and a steamer in which you might take passage for Hâvre, or perhaps some nearer port on the Brittany Coast.

It is a charming picture, especially if the skies overhead are blue and the sun is shining. Then the town is lying in alternate light and shade; the pavements are chequered with gabled outlines, long drawn out or foreshortened according to their position. The canal bordering the old market-place is lined with a long row of women, alternately beating linen upon boards and rinsing it in the water. We know that they are laughing and chattering, though we cannot hear them; for a group of even sober Breton women could not be together and keep silence. They take life very seriously and earnestly; with them it is not all froth and evaporation; but this is their individual view of existence; collectively there comes the reaction, forming the lights and shadows of life, just as we have the lights and shadows in nature. That reaction must come is the inevitable law; and possibly explains why there are so many apparent contradictions in people.

Morlaix has had an eventful history in the annals of Brittany. It takes its name from Mons Relaxus, the hill that was crowned by the ancient castle; a castle which existed at the time of the Roman occupation, if the large number of medals and pieces of Roman money discovered in its foundations may be taken as indicating its epoch. Many of these remains may be seen in the small museum of the town. They date from the third century.

The progress of Morlaix was slow. Very little is recorded of its earlier history. Though the Romans occupied it, we know not what they did there. Nearly all traces of Roman architecture have disappeared. The town has been frequently sacked and pillaged and burnt, sacrilege in which the English have had many a hand; and even Roman bricks and mortar will yield in time to destructive agencies.

Even in the eleventh century it was still nothing more than a small fishing town, a few houses nestling in the ravine, and sheltered by a huge rampart on the south-west. Upon the Mons Relaxus, the hill giving its name to the town, stood the lordly castle, the two rivers flowing, one on either side, which further down unite and form one stream. To-day all traces of the castle have disappeared and the site is planted with trees, and quiet citizens walk to and fro beneath their shade, where centuries ago there echoed the clash of arms and the shouts of warriors going forth conquering and to conquer. For in those days the Romans were the masters of the world, and seemed born only for victory.

In the twelfth century, Morlaix began a long series of vicissitudes. In 1187 Henry II. of England laid siege to it, and it gave in after a resistance of nine weeks. It was then in possession of the Dukes of Brittany, who built the ancient walls of the town, traces of which yet exist, and are amongst the town's most interesting remains.

The occupation of the English being distasteful to the Bretons, they continually rebelled against it; though, as far as can be known, the English were no hard task-masters, forcing them, as the Egyptians did the Israelites, to make bricks without straw.

In 1372 the English were turned out of their occupation, and the Dukes of Brittany once more reigned. It was an unhappy change for the discontented people, as they soon found. John IV., Duke of Brittany, was guilty of every species of tyranny and cruelty, and many of the inhabitants were sacrificed.

Time went on and Morlaix had no periods of great repose. Every now and then the English attacked it, and in the reign of Francis I. they pillaged and burnt it, destroying antiquities that perhaps to-day would have been worth many a king's ransom. This was in the year 1532.

In 1548, Mary Stuart, Queen of Scots, a child of five years only, disembarked at the wonderfully quaint little town of Roscoff to marry the Dauphin of France, who afterwards reigned as Francis II. She made a triumphal entry into Morlaix, was lodged at the Jacobin convent, and took part in the Te Deum that was celebrated in her honour in Notre Dame du Mur. This gives an additional interest to Morlaix, for every place visited by the beautiful and unfortunate Queen of Scots, every record preserved of her, possesses a romantic charm that time has been unable to weaken.

As she was returning to the convent after the celebration of the Te Deum, and they were passing what was called the Gate of the Prison, the drawbridge gave way and fell into the river. It was fortunately low water, and no lives were lost. But the Scots Guards, separated from the young Queen by the accident, took alarm, thought the whole thing had been planned, and called out: "Treason! Treason!" Upon which the Chevalier de Rohan, who rode near the Queen, quickly turned his horse and shouted: "Never was Breton guilty of treason!"

And this exclamation may be considered a key-note to their character. The Bretons, amongst their virtues, may count that of loyalty. All is fair in love and war, it is said; but the Bretons would betray neither friend nor foe under any circumstance whatever.

For two hundred years Morlaix has known peace and repose, as far as the outer world is concerned. She has given herself up to religious institutions, and has grown and prospered. So it comes to pass that she is a strange mixture of new and old, and that side by side with a quaint and wonderful structure of the Middle Ages, we find a house of the present day flourishing like a green bay tree—a testimony to prosperity, and an eyesore to the lover of antiquity. But these wonders of the Middle Ages must gradually disappear. As time rolls on, and those past centuries become more and more remote, the old must give place to the new; ancient buildings must fall away in obedience to the inevitable laws of time, progress and destruction.

This is especially true of Morlaix. Much that was old-world and lovely has gone for ever, and day by day something more is disappearing.

We sallied forth, but unaccompanied by Misery, who was hard at work in the hotel, preparing us rooms wherein, as he expressed it, we should that night lodge as Christians. Whether, last night, he had put us down as Mahometans, Fire Worshippers, or heathens of some other denomination, he did not say.

The town had lost the sense of weirdness and mystery thrown over it by the darkness. The solemn midnight silence had given place to the activity of work and daylight; all shops were open, all houses unclosed; people were hurrying to and fro. Our strange little procession of three was no more, and André carrying a flaring candle would have been anything but a picturesque object in the sunshine.

But what was lost of weirdness and mystery was more than made up by the general effect of the town, by the minute details everywhere visible, by the sense of life and movement. Usually the little town is quiet and somewhat sleepy; to-day the inhabitants were roused out of their Breton lethargy by the presence of so many strangers amongst them, and by the fact of its being market day.

More than even last night, we were impressed by the wonderful outlines of the Grand' Rue, where the lattice had been lighted up and the mysterious vision had received a revelation in gazing upon H.C. To-day behind the lattice there was comparative darkness, and the vision had descended to a lower region, and the unromantic occupation of opening a roll of calico and displaying its advantages to a market woman who was evidently bent upon driving a bargain. The vision caught sight of H.C., and for the moment calico and everything else was forgotten; the market woman no doubt had her calico at her own price.

The street itself is one of the most wonderful in France. As you stand at the end and look down towards Les Halles, you have a picturesque group, an assemblage of outlines scarcely to be equalled in the world. The street is narrow, and the houses, more and more overhanging as they ascend floor by floor, approach each other very closely towards the summit. The roofs are, some of them, gabled; others, slanting backwards, give room for picturesque dormer windows. Wide lattices stretch across some of the houses from end to end; in others the windows are smaller and open outwards like ordinary French windows, but always latticed, always picturesque.

Below, on the ground floor, many of the houses are given up to shops, but, fortunately, they have not been modernised.

The whole length of the front is unglazed, and you gaze into an interior full of mysterious gloom, in which you can scarcely see the wares offered for sale. The rooms go far back. They are black with age: a dark panelling that you would give much to be able to transport to other scenes. The ceilings are low, and great beams run across them. The doors admitting you to these wonderful old-world places match well their surroundings. They are wide and substantial, with beams that would effectually guard a prison, and wonderful old locks and keys and pieces of ironwork that set you wild with longings to turn housebreaker and carry away these ancient and artistic relics.

You feel that nothing in the lives of the people who live in these wonderful tenements can be commonplace. However unconscious they may be of the refining influence, it is there, and it must leave its mark upon them.

At least, you think so. You know what the effect would be upon yourself. You know that if you could transport this street bodily to some quiet nook in England and surround it by velvety lawns and ancient trees that have grown and spread with the lapse of ages, your existence would become a long and romantic daydream, and you would be in danger of living the life of a recluse and never separating yourself from these influences. Custom would never stale their infinite variety; familiarity would never breed contempt. Who tires of wandering through a gallery of the old masters? who can endure the modern in comparison? It is not the mere antiquity of all these things that charm; it is that they are beautiful in themselves, and belong to an age when the Spirit of Beauty was poured out upon the world from full vials held in the hands of unseen angels, and what men touched and created they perfected.

But the vials have long been exhausted and the angels have fled back to heaven.

The houses all bear a strong family resemblance to each other, which adds to their charm and harmony. Most of them possess two doors, one giving access to the shop we have just described, the other admitting to a hall or vestibule, panelled, and often richly sculptured. Above the rez-de-chaussée, two or three stories rise, supported by enormous beams richly moulded and sculptured, again supported in their turn by other beams equally massive, whose massiveness is disguised by rich sculpture and ornamentation: a profusion of boughs, of foliage, so beautifully wrought that you may trace the veins in the leaves of niches, pinnacles and statues: corner posts ornamented with figures of kings, priests, saints, monsters, and bagpipers. The windows seem to multiply themselves as they ascend, with their small panes crossed and criss-crossed by leaden lines: the fronts of many are slated with slates cut into lozenge shapes; and many possess the "slate apron" found in fifteenth century houses, with the slates curved outwardly to protect the beam.

By the second door you pass down a long passage into what originally was probably a small yard, but has now been turned into a living-room or kitchen covered over at the very top of the house by a skylight. This is an arrangement now peculiar to Brittany. The staircase occupies one side of the space, and you may trace the windings to the very summit, curiously arranged at the angles. These singularly-constructed rooms have given to the houses the name of lanternes. Every room has an enormous fireplace, in which you might almost roast an ox, built partly of wood and stone, richly carved and ornamented. But let the eye rest where it will, it is charmed by rich carvings and mouldings, beams wonderfully sculptured, statues, ancient niches and grotesques.

In one of these houses is to be found a wonderful staircase of carved oak and great antiquity, that in itself would make Morlaix worth visiting. It is in the Flamboyant style, and was probably erected about the year 1500. For Brittany is behind the age in its carvings as much as in everything else, and this staircase in any other country might safely be put down to the year 1450. It is of wonderful beauty, and almost matchless in the world: a marvel of skill and refinement. It possesses also a lavoir, the only known example in existence, with doors to close when it is not in use; the whole thing a dream of beautiful sculpture.

One other house in Morlaix has also a very wonderful staircase; still more wonderful, perhaps, than that in the Grand' Rue; but it is not in such good preservation. The house is in the Rue des Nobles, facing the covered market-place. It is called the house of the Duchesse Anne, and here in her day and generation she must have lived or lodged.

The house is amongst the most curious and interesting and ancient in Morlaix, but it is doomed. The whole interior is going to rack and ruin, and it was at the peril of our lives that we scrambled up the staircase and over the broken floors, where a false step might have brought us much too rapidly back to terra firma. Morlaix is not enterprising enough to restore and save this relic of antiquity.

The staircase, built on the same lines as the wonderful staircase in the Grand' Rue, is, if possible, more refined and beautiful; but it has been allowed to fall into decay, and much of it is in a hopelessly worm-eaten condition. H.C. was in ecstasies, and almost went down on his knees before the image of an angel that had lost a leg and an arm, part of a wing, and the whole of its nose; but very lovely were the outlines that remained.

"Like the Venus of Milo in the Louvre," said H.C., "what remains of it is all the more precious for what is not."

It was not so very long since we had visited the Louvre together, and he had remained rapt before the famous Venus for a whole hour, contemplating her from every point of view, and declaring that now he should never marry: he had seen perfection once, and should never see it again. This I knew to be nothing but the enthusiasm of the moment. The very next pretty face and form he encountered, animated with the breath of life, would banish from his mind all allegiance to the cold though faultless marble image.

The exterior of the house of the Duchesse Anne was as remarkable as the interior for its wonderful antiquity, its carvings, its statues and grotesques, its carved pilasters between the windows, each of different design and all beautiful, its gabled roofs and its latticed panes that had long fallen out of the perpendicular. Both this and the next house were closed; and it was heartbreaking to think that perhaps on our next visit to Morlaix empty space would here meet our gaze, or, still worse, a barbarous modern aggression.

Few towns now, comparatively speaking, possess fifteenth century remains, and those few towns should preserve them as amongst their most cherished treasures.

Morlaix is still amongst the most favoured towns in this respect. Go which way you will, and amongst much that is modern, you will see ancient houses and nooks and corners that delight you and take you back to the Middle Ages. Now it will be an old house in the market-place that has escaped destruction; now a whole court up some narrow turning, too out-of-the-way to have been worthy of demolition; and now it will be a whole street, like the Grand' Rue, which has been preserved, no doubt of deliberate intent, as being one of the most typical fifteenth century streets in the whole of France, an ornament and an attraction to the town, raising Morlaix out of the commonplace, and causing antiquarians and many others to visit it.

For if all the houses of the Grand' Rue are not actually fifteenth century—and they are not—they all look of an age; they all belong to the same school of architecture, and the harmony of the whole street is perfect. Looking upwards, the eye is delighted at the outlines of the gabled roofs that stand out so clearly and sharply against the background of the sky; and you return to it over and over again during your sojourn in Morlaix, and each time you gaze longer and think it more beautiful than before.

These old-world towns and streets are very refreshing to the spirit. We grow weary of our modern towns, with their endless monotony and their utter absence of all taste and beauty. Just as when sojourning in a country devoid of monuments and ruins, the mind at length absolutely hungers for some grand, ecclesiastical building, some glorious vestige of early ages; so when we have once grown familiar with mediæval towns and outlines, it becomes an absolute necessity occasionally to run away from our prosy nineteenth century habitations, and refresh our spirit, and absorb into our inmost nature all these refining old-world charms. It is an influence more easily felt than described; also, it does not appeal to all natures. We can only understand Shakespeare by the Shakespeare that is within us—an oft quoted saying but a very true one; and Pan might pipe for ever to one who has no music in his soul; and the rainbow might arch itself in vain to one who is colour-blind.

Morlaix also, as we have said, owes much to its situation.

Lying between three ravines, it is most romantically placed. Its people are sheltered from many of the cruel winds of winter, and even the sturdy Bretons cannot be quite indifferent to the stern blast that comes from the East laden with ice and snow.

Not that the people of Morlaix look particularly robust, though we found them very civil and often very interesting. We must pay for our privileges, and if a town is built in a hollow, and is sheltered from the east wind, the chances are that its climate will be enervating. This, of course, has its drawbacks, and sets the seal of consumption on many a victim that might have escaped in higher latitudes.

One charming type we found in Morlaix, consisting of a family that ought to have lived in the middle ages, and been painted by Raphael, or have served as models for Fra Angelico's angels. Three generations.

We were climbing the Jacob's ladder leading to the station one day, when we chanced upon an old man who sold antiquities. We were first taken with his countenance. It had honesty and integrity written upon it. Had he been a German, living in Ober-Ammergau, he would certainly have been chosen for the chief character in the play—a play, by the way, that has always seemed questionable, since the greatest and most momentous Drama creation ever witnessed appears too sacred a theme to be theatrically represented, even in a spirit of devotion.

Our antiquarian was growing old. His face was pale, beautiful and refined, with a very spiritual expression. The eyes were of a pure blue, in which dwelt almost the innocence of childhood. He was slightly deformed in the back. There was a pathetic tone in the voice, a resigned expression in the face, which told of a long life of struggle, and possibly much hardship and trouble—the latter undoubtedly.

We soon found that he had in him the true artistic temperament. His own work was beautiful, his carvings were full of poetical feeling. If not a genius himself, he was one whose offspring should possess the "sacred fire," which must be born with its possessor, can never after be kindled. In one or two instances we pointed to something superlatively good. "Ah, that is my son's work," he said; "it is not mine." And there was an inflection in the voice which told of pride and affection, and perhaps was the one bright spot in the old man's pilgrimage, perhaps his one sorrow and trouble—who could tell? We had not seen the son; we felt we must do so.

The old man's most treasured possession was a crucifix, to which he pointed with a reverential devotion.

"I have had it nearly thirty years," he said, "and I never would sell it. It is so beautiful that it must be by a great master—one of the old masters. People have come to see it from far and near. Many have tempted me with a good offer, but I would never part with it. Now I want the money and I wish to sell it. Will you not buy it?"

It was certainly exquisitely beautiful; carved in ivory deeply browned with age. We had never seen anything to equal the position of the Figure upon the Cross; the wonderful beauty of the head; the sorrow and sacredness of the expression; the perfect anatomy of the body. But in our strictly Protestant prejudices we hesitated. As an object of religion of course we could have nothing to do with it; the Roman Catholic creed, with its outward signs and symbols, was not ours; who even in our own Church mourned the almost lost beauty and simplicity of our ancient ritual; that substitution of the ceremonial for the spiritual, the creature for the Creator, which seems to threaten the downfall of the Establishment. Would it be right to purchase and possess this beautiful thing merely as an object of refined and wonderful art? I looked at H.C. In his face at least there was no hesitation. Such a prize was not to be lost if it could be obtained within reasonable limits. It must take a place amongst his old china, his headless Saints and Madonnas!