In Château Land

The Orleans station, like that of Tours, is a delusion and a snare, as we were suddenly landed at Les Aubrais, one of the outskirts of the old city and from thence had to make our way to Orleans as best we could. We had fortunately been able to send our small luggage directly through to Paris by putting it in the consigne, and paying ten centimes on each article. This convenient and economical device, which with all our travel we had never discovered, was revealed to us by the two charming Connecticut ladies whom we met at Amboise. Walter calls down blessings upon the pretty heads of these two wise New England women whenever we make a stop over between trains; and Miss Cassandra ejaculates: "It takes a Yankee, my dears, to find out the best way to do everything on the top of the earth!"

Having only ourselves to dispose of, we soon found an omnibus which conveyed us to the Place du Martroi, the soul and centre of the ancient city of Orleans, where is fitly placed an equestrian statue of Jeanne d'Arc, by Foyatier. This statue does not, however, happily suggest the Maid, as the peasant girl of Domremy is here represented with a fine Greek profile, and, as Archie noticed, with his keen horseman's eye, the charger upon which she is mounted is a race-horse and not a war-horse. It is, however, a noble and dignified memorial, on the whole, in which it differs from the grotesque affair at Chinon, and Dubray's low reliefs on the sides of the pedestal, representing important scenes in the life of the Maid, are beautiful and impressive.

Here in Orleans, the scene of Joan's first and most remarkable success, we live more completely in the life and spirit of that wonderful period than at Chinon. The marvel of it all impressed us more forcibly than ever before. That this peasant girl, young and ignorant of the art of war, by the power of her sublime faith in her heaven-sent mission and in herself as the divinely appointed one, should have wrested this city from the English, seems nothing short of the miracle that she and her soldiers believed it to be. Even that hard-headed and cold-hearted sovereign, Louis XI, was so overawed by the story of Joan's victories that he marked with tablets the little room at Domremy where she was born, and also the convent of Sainte Catherine de Fierbois, where she was received and where she found her sword with the five crosses.

We knew that the Place du Martroi was not the scene of Joan's martyrdom, and yet this wide, noble square, with her monument in the centre, from which diverge so many streets associated with her history, stood for infinitely more to us than anything we had seen at Rouen, the actual place of her martyrdom.

From the square, M. La Tour conducted us to the cathedral, which has been criticized by Victor Hugo and many others, and which we, perhaps from pure perversity, found much more harmonious than we had expected. The façade, which the local guidebook pronounces majestic, even if bâtarde in style, is rich in decoration, and the little columns on the towers I thought graceful and beautiful, however bâtarde they may be. Two cathedrals have stood upon the site of the present Sainte Croix, the last having been destroyed by the Huguenots, to whom are attributed the same sort of destruction that marked the course of Oliver Cromwell's army in England. It is said that the great Protestant leader, Théodore de Bèze, himself blew up the four noble pillars that once supported the belfry. However this may be, and Miss Cassandra says that we are all free to believe such tales or not, as we choose, very little is left of the old edifice except the eleven chapels and the side walls. Even if Théodore de Bèze destroyed the old cathedral, the building as it now stands was the work of his former chief, for it was Henry of Navarre who laid the corner stone of the new edifice, in 1601, to fulfill a vow made to Pope Clement VIII who had absolved him from the ban of excommunication.

In the side windows, in richly colored glass, is the story of the Maid of Orleans, from the day when she heard the voices and a vision appeared to her while she kept her father's sheep in the fields near Domremy, to the hour when she and her troops gave thanks for the victory of Orleans in this cathedral. On through the eventful months of her life to the sad and shameful scenes at Rouen, where the innocent and devoted Maid was burned at the stake, while France which she had delivered, and Charles whom she had crowned, made no sign, the story is told in a series of pictures. Even if of modern glass and workmanship, these windows seemed to us most beautiful, especially those on the right-hand side through which the light streamed red, yellow and blue from the jewelled panes. The window representing the crowning of Charles VII at Rheims is especially rich in color. Joan, with a rapt ecstatic expression on her face, is here to see her King crowned and with her is the banner that she loved even more than her mystic sword. Below are inscribed her own simple words, "It has been with him in the suffering, it is right that it should be with him in the glory." Ever self-effacing, it was of her beloved banner that Joan was thinking, never of herself.

The whole wonderful story is written upon these windows so plainly that any child may read it. We have been thinking of Christine and Lisa, and wishing that they were here to read it with us. They will learn of Joan of Arc in their histories, but it will never be so real to them as it is here where her great work was done, and where she is so honored. Some day we promise ourselves the pleasure of bringing the children here and going with them through all the Joan of Arc country. M. La Tour, who has made the journey, says that, as the Joan of Arc cult is increasing all the time, every spot associated with her is marked and everything most carefully preserved.

"Most interesting of all," he says, "is the little church where Jeanne worshipped. Although badly restored by Louis XVIII, the nave remains intact, and the pavement is just as it was when the bare feet of Jeanne trod its stones, in ecstatic humility, during the long trance of devotion when she felt that supernatural beings were about her and unmistakable voices were bidding her to do what maid had never dreamed of doing before. In a little chapel, beside the main edifice, is the stone fount where the infant Jeanne was baptized. Fastened to the wall there hangs a remnant of the iron balustrade, that Jeanne's hands must have rested on during the hours that she passed in rhapsody, seeing what never was seen on land or sea. A few steps from the church stands the cot where the maid was born, almost as humbly as the Christ Child. Entering through the small doorway, you see the room in which Jeanne first opened her eyes to the light. On one side stands the 'dresser,' or wardrobe, built half way into the wall, where the housewife stored the family belongings. Beside this is the iron arm which held the lamp, used during midnight watches. Beyond this general room is the alcove that served Jeanne as a sleeping-room. In this narrow chamber, more like a cell than a sleeping-room, Jeanne heard 'voices,' and dreamed her dreams."

M. La Tour's description is so interesting that we all long to follow in his footsteps and in those of the Maid, from the clump of oak trees—of which one still stands—and the "Fountain of the Voices" to the ruins of the Château of Vaucouleurs, where the chivalrous Robert de Baudricourt, impressed by the girl's serene confidence, gave her a letter for the King, who was at Chinon, as we know.

Orleans

The Porte de France is still standing, M. La Tour tells us, through which the shepherd maid, with her four men-at-arms and her brother Jean, embarked on her perilous journey of eleven days across a country filled with roaming bands of British and Burgundian soldiers. The places are all marked, Saint-Urbain, Auxerre, Gien, Sainte Catherine de Fierbois, where Jeanne was received in the "aumonerie" of the convent, now transformed into a Mayor's office. When we come to Orleans with the children, we must try to be here on the 8th of May, when the whole city is en fête celebrating the glorious victory of the Maid. Still talking over the projected Joan of Arc pilgrimage, M. La Tour led us by the Rue Jeanne d'Arc which faces the cathedral and to the Maison de l'Annonciade where Jacques Boucher, treasurer of the Duke of Orleans, received the Maid. In the court of this building, now used as a Dominican convent, is a small statue of Joan, above the well. This house is also called the Maison de Jeanne d'Arc, and in a charming Renaissance building, near by, is a collection of relics of the Maid. For some unknown reason this house is sometimes spoken of as the house of Agnes Sorel; and with about the same authority another house at the corner of the streets, Charles-Sanglier and Des Albanais, is called the Maison de Diane de Poitiers. This latter mansion, with its small towers and richly ornamented façade, is now an historical museum and is better known as the Hôtel Cabu.

By the Rue Royale, which suddenly changes its name and becomes the Rue de la Republique after it crosses the Place du Martroi, we made our way to the Hôtel du Ville, a handsome sixteenth century building of brick and stone. On a tablet upon the façade is a long inscription telling how many kings, queens and notable personages have stopped here; but what interested us much more is a statuette in bronze of Joan, the work of the Princess Marie d'Orléans, daughter of Louis Philippe. The modest, devout little maid, represented by this statue, is more like the real Joan, to our thinking, than most of the more pretentious monuments.

In the Salle des Marriages of the Hôtel du Ville, we came suddenly upon souvenirs of a much later period than that of Joan, for here, in this room, Francis II died. He and Mary came here from Chenonceaux, and becoming violently ill from a malady in his ear which had tortured him for some time, the poor young king took to his bed never to rise again. His mother followed him here, and at Mary's instance the great surgeon Ambrose Paré was summoned. He wished to operate; the young Queen had full confidence in his judgment and skill, but Catherine resolutely opposed the use of the surgeon's knife, and poor Francis lingered a few days in great pain, and finally died in the arms of his wife. There is a painting in the Salle des Marriages of this sad scene; Mary is kneeling by the bedside of her husband and Catherine is seated nearby, her face cold and expressionless. It has been intimated that Catherine opposed Ambrose Paré because she wished to have poor Francis removed to make way for a son whom she could control and bend to her will; but with all her wickedness, it is impossible to believe in such a motive. One may, however, understand her ignorant horror of the use of the knife, and the superstitious terror that haunted her in view of the recent revelations of Ruggieri at Chaumont.

Neurdein Freres, Photo.

Salle des Marriages, Orleans

"I think it is quite evident what was amiss with King Francis!" exclaimed Miss Cassandra. "He was suffering from mastoiditis, of course, and Ambrose Paré was clever enough to find it out, and might have saved his life if he had been allowed to have his way. I have no patience with Catherine, and she knew what she was about when she set up her opinion against that of a great surgeon."

Archie says that to diagnose a case at a distance of several hundred miles requires considerable skill; but still greater is the insight into obscure maladies of our Quaker lady, who bridges over the centuries and tells us just what disease afflicted Francis II in the year of grace 1560; and he added quite seriously:

"You may be quite correct in your surmise, Miss West. Your niece and I will hunt up Ambrose Paré's diary when we get to Paris, and see what he says about the case. If you are right, I'll take you into my office as a partner."

After a somewhat strenuous morning of sightseeing and a sumptuous regale at the Hôtel St. Aignan, whose name pleased us on account of its Dumas flavor, we climbed up to a lovely terrace garden from which we could overlook the town and the cathedral, to which distance certainly lends enchantment. In this pleasant resting place I am writing to you, dear Margaret, while we wait for a late train to Paris. M. La Tour expects his auto to meet us and convey us to the station and then to take him to his home. We shall miss him, as his kind attentions and vast fund of information have added much to the pleasure of our sojourn in Château Land. To-day he has managed our time so judiciously that we have seen everything of importance in Orleans without being hurried, and we now have this quiet hour on the hillside garden before setting forth upon our journey. He evidently has no idea of what is happening in our midst, and is as attentive as ever to Lydia, talking to her and walking with her, whenever Archie gives him a chance; and who can blame him? I have never seen Lydia more charming than she is to-day; but the soft light that shines in her eyes is not for the young Frenchman, I am sure. Walter says:

"If La Tour had his wits about him he would see what is going on under his nose; it takes a sledge hammer to drive in some other things beside a joke."

Here comes the auto, and in five minutes we shall be en route for Paris.

XVI

A CHÂTEAU FÊTE

    Paris, September 16th.

We found Angela eagerly awaiting us when we reached our destination, and I must admit still more eagerly awaiting another arrival, as Mr. McIvor was expected by a train due here later than ours. Since she had been with his Scotch and English relatives, Angela insists upon having her fiancé called Mr. McIvor, as that is the custom in his own country. She, however, much prefers our calling him by his own delightful Scotch name, Ian, and we like him well enough to fall in with her desires. Ian arrived in due time, and our party is now complete.

"How fortunate it is that the hour was in our favor instead of the Doctor's," exclaimed Walter; for according to French etiquette to have left Angela here unchaperoned with her lover in the same city, even if not in the same hotel, would have shocked all ideas of propriety. "I fancy that M. La Tour, good fellow as he is, couldn't understand our leaving Angela here by herself even for a single night."

"No," I said, "and I didn't think it necessary to tell him."

"Queer notions these people have! As if Angela didn't know how to take care of herself!"

No one knows better, and I told Walter how Angela managed in London. She reached there in the afternoon, instead of in the morning as she had expected. Something about the automobile had given out and they had finally to take a train from York. When she reached the hotel where she was to meet the Dudleys, she found a note telling her to follow them to Southampton as they were obliged to take the night boat. Angela immediately looked up trains and finding that the next train would be one hour too late for the boat, what do you think she did? She telegraphed to the Captain to wait for her! Did you ever hear of anything so delicious? Walter calls it a piece of American effrontery, but I call it quickwitted, don't you? Of course the Captain could not keep his boat waiting for any person of less distinction than the Queen; but by good luck (Angela is always lucky) the vessel was late in sailing that evening. The Dudleys, who were anxiously waiting for her on deck, saw her coming, just as the sailors were about to take up the gang-plank, and begged the Captain for a moment's delay. Of course Angela looked charmingly pretty as she tripped up the incline; and she never realized that her little telegram could be taken otherwise than seriously until she heard the Captain say to the first officer, as she stepped on deck: "She was worth waiting for, after all." At this the child was so overcome with confusion that she did not know which way to look, and evidently did not recover her self-possession during the crossing. Walter insists that she is still blushing over her own daring. If she is, it is vastly becoming to her, as I have never seen Angela look more brilliantly beautiful.

We are living in an atmosphere so charged with romance, that it would be positively dangerous for two unmated beings to join our party at this time. Miss Cassandra pays Archie and myself the compliment of appearing to be radiantly happy over Lydia's engagement, although I know that she drops a tear in secret over M. La Tour and his château. I tell her that this is not an entirely safe environment for her, especially as one of her old time suitors is in Paris; he met us at Morgan's this morning and has been dancing attendance on Miss Cassandra this evening, which last, Walter says, is a very disrespectful way to speak of the decorous call of a dignified Quaker gentleman.

However that may be, Miss Cassandra laughed gaily at my serious warning, and with a flash of her bright blue eyes dismissed her quondam suitor and my solicitude in one brief sentence:

"Thee is very flattering, my dear, and I admit that Jonah is an excellent person; but he is quite too slow for me!"

"That may be; very few people are quick enough for you, dear Miss Cassandra; but you must acknowledge that Mr. Passmore was not at all slow about calling upon you to-night."

It is really too bad to tease our Quaker lady; but she takes it all so literally and is so charmingly good-humored withal that it is a temptation not easy to resist.

We are making the most of our few days in Paris, as we leave here early next week. Lydia announced at breakfast that she felt it her duty, and she hoped that we should feel it to be ours to make a pilgrimage to St. Denis this afternoon.

"After enjoying ourselves in the châteaux of the Kings and Queens of France, it is," she says, "the very least that we can do to go to St. Denis and see them decently and honorably buried."

Miss Cassandra quite agreed with Lydia, and Archie, although he says that it is a ghoulish sort of expedition, would go anywhere with her, of course.

It is rather odd that none of us have ever been to St. Denis, not even Ian McIvor who lived in Paris for months while he was studying medicine. We set forth this afternoon in truly democratic fashion on top of a tram, on one of the double-deckers that they have over here, to Angela's great delight. A rather lively party we were, I must admit, despite the sobriety of our errand.

There was nothing that especially interested us in the prosperous manufacturing town of St. Denis, and we went directly to the basilica, which with the mingling of the Romanesque and Gothic in its architecture is much more beautiful than we had expected. It is sufficiently ancient to satisfy our antiquarian taste, as the site of the original abbey dates back to 275, having been erected over the remains of St. Dionysius or St. Denis. The present edifice owes its existence to the Abbé Suger who reigned here in the days of Saint Louis. There have been many restorations, of course, and some very bad ones as late as the reign of Napoleon Bonaparte. In this basilica the Emperor Napoleon was married to the Archduchess Marie Louise and, what is more interesting to us, here Joan of Arc hung up her arms, in 1429. It is wonderful to see the monuments to royalties as far back in French history as Queen Frédégonde and King Dagobert, who founded an abbey here as early as 638. The tomb of Dagobert is a most remarkable and realistic representation of the King's soul leaving his body and its reception in heaven; the means of transportation is a boat with oarsmen, both going and coming, if I may so express it, that is the soul of Dagobert goes forth upon the unknown sea in a boat, and in another carving on the tomb he is welcomed to the shores of heaven, still in a boat. It is very interesting, as there is a poetic as well as a realistic side to the strange conception. Near Dagobert's monument some one had left a visiting card, after the curious French fashion.

"It seemed so very late in the day to be calling upon King Dagobert," as Walter remarked.

After this ancient mausoleum, that of Louis and Anne de Bretagne seemed quite modern, and very handsome, much in the style of the Visconti monument at the Certosa near Pavia. Not far from this tomb we came upon that of Henry II and Catherine de Médicis, in which they are represented in that gruesome fashion so frequent in English cathedral tombs,—the nude figures below, while above in a beautiful chapel, with marble columns and pillars, there are handsome bronze figures of the King and Queen devoutly kneeling. Very inappropriately at the four corners are placed bronze figures of Faith, Hope, Charity and Good Works. Catherine is said to have planned this mausoleum herself, and, strange to relate, in the choir we found another monument to the same King and Queen.

"Just like the grasping creature to want two tombs!" exclaimed Miss Cassandra. "Most people are satisfied with one."

It appears that in her old age Catherine disapproved of the nude figures on the first monument, and had this one made with two decently robed effigies, in marble, resting upon a bronze couch.

We went down into the crypt, all of us except Angela, who still has an aversion to underground resorts. Ian went with us; but after a hurried glance at the most important tombs he made his way back to the sunshine and to Angela. The rest of the party went through everything quite resolutely, although we found this ancient crypt of the good Abbé Suger even more gruesome than most crypts. The guide directed us to a tiny window, through which we could see the place where poor Marie Antoinette and Louis XVI were finally buried, at least all that could be found of their remains. Here a light was burning, which they told us was never allowed to go out. In strange contrast to this solemn little chapel, there is a kneeling figure of the Queen on one side of the crypt in a ball dress with jewels around her neck. This statue, by Petitot, although strangely inappropriate in costume, is beautiful in expression, and in the modelling of the face, arms, and hands, the latter being very lovely.

Here also is a "Caveau Impérial," constructed by the order of Napoleon III, as the burial place of his dynasty. This tomb is quite untenanted, of course, as no Bonapartes lie at St. Denis; although the bones of the Valois, Orleans and Bourbon families, who have come and gone in France, probably forever, are royally entombed here, from their early sovereigns down to Louis XVIII.

I tell you all this because I think you have not been to St. Denis, and we found it so much more interesting than we had expected. Walter and Archie made their acknowledgments to Lydia, in due form, and indeed we should never have made this pilgrimage had she not been enterprising enough to lead us forth toward St. Denis and its royal tombs.

    September 17th.

Madame La Tour and her son made a formal call upon us yesterday. M. La Tour had already dropped in, in his friendly way, to inquire after our comfort and to offer his services, as a guide to anything that we might wish to see. As Madame had announced her coming we were at home to receive her. She is pretty and graceful, a charming combination of the American and French woman. We all fell in love with her. M. La Tour is frankly proud of his mother and was anxious that we should meet her. He has evidently not yet grasped the situation of affairs, although during the visit, which was brief if somewhat embarrassing, I could see nothing but the sapphire that sparkled upon Lydia's finger. Madame La Tour very cordially invited Lydia to go to the opera with her, and M. La Tour was evidently much disappointed when she declined in consequence of another engagement.

"Lydia never said a truer word in her life!" exclaimed Walter, after the visitors had departed; "but La Tour is very stupid not to know what sort of an engagement it is that she has on her hands."

Upon which I suggested that Walter should mention the engagement to M. La Tour, quite casually, in the course of conversation.