The fields of France

So the wars ended.

But the rate of wage remained fairly high throughout all the fifteenth century. The peasants ate more and of better food, drank more freely of wine and cider (a good deal too freely, and they have not lost the habit), wore more costly and more comfortable garments, afforded their wives and daughters richer ornaments and trinkets than, in the same rank and class, they can afford to-day. In all times, in France, the poorest have contrived to hoard; mediæval accounts and registers reveal the amount of saving effected by all classes, and record the lands and herds constantly acquired by farm labourers and domestic servants. They and their kind prospered, laid by their savings, and bought, rood by rood, the lands of the diminished noble, whom the long wars had left penniless and threadbare. The lords were glad to sell here a croft and there a spinny, for in very many cases they could no longer afford to work their immense estates. And thus the rise in the rate of wages, brought about by battle and plague, not only retrieved the ravage of the English wars, but even prepared insidiously the final ruin of the Feudal system.

THE MEDIÆVAL COUNTRY-HOUSE

ONE of my friends, by race a Persian, a native of the Russian Caucasus, was used to come and see me on his home-sick days, to talk about the castle he had left at home. It is a great, strong castle, with stone towers and wooden balconies, and a vast hall within where my lord sits in state by the cavernous hearth and listens to the wandering minstrels, who sing long ballads to their instruments. Not only singers come there, but itinerant pedlars, the acrobats of the fair, pilgrims to some distant shrine, travellers of many sorts who bring to this high-perched castle news of the outer world. If my lord Aga should wish to see that world at closer quarters, in the nearest city he has his “hostel” in some wealthy burgher’s house, and thither sometimes he repairs during the dead weeks of the winter. But with the first bud or sprout on the topmost sprig, he is back in the castle. For now the real life of the noble begins—the season of the chase! My lord is more or less of a scholar, and in the winter time he fingers amorously his rare collection of illuminated manuscripts (we possess one, for which his nephew offers us a village in Karabag!), brought together at an infinite expense and trouble. But how far he prefers the summer morning, when, hawk in hand, the noble hunters troop forth on their gay-caparisoned horses to chase eagle or heron on the mountain heights! Deep down in the dungeon underground perchance some penitent wonders if the spring will ever come—for there are dungeons still in the castles of Karabag, though the lords there have no longer the right of life and death. Here the nobles live a merry life, united among themselves and seeing few who are not of their order, save the Emperor’s hated tax-collector or the Jew doctor who comes upon his rounds, a quantity of little powders sewn into the sash about his waist.... Could we but be spirited to Karabag, we should find the Middle Ages there in flesh and blood, alive!

Who knows? Yet we who wish to visit the mediæval country-house, we will take a humbler way. We will mount pillion behind some solid, clerkly person: Maistre Jehan Froissart or Maistre Eustache Deschamps, sure of his road and garrulous about his masters. Thus we will jog along, gossiping, from place to place, alighting here and there at some stately castle, where the lord, like that Count of Foix who sent for Froissart from his inn—“est le seigneur du monde qui plus volontiers voit estrangers pour ouyr nouvelles;” or we will turn in at some pleasant manor, such as that Manor of Cachant, dear to Master Eustace, where there are gardens sweet with rose, gladiolus, and mint—where there are meadows, vineyards, and “a noble willow-wood,” with baths of all kinds to refresh the weary traveller: “bains et estuves et le ruissel courant.”

If the countryside afford a good granite rock surmounting a hill or mound of any height, that situation has generally been chosen for the castle, encircled by its protecting precipice. But in some parts of Northern France such sites are few; and, contrasted with the German or Italian fortress on the hill, we find more frequently the manor “emmy estangs,” so often sung of old poets—the castle built like Rochester, or Melun, on the brink or island of a river, isolated by moats and defended by encircling towers. Such was, for example, the Castle of Bièvre, commended by Deschamps in his 454th Ballad—

Each tower is three stories high, and each stands well in advance of the castle wall, the entry defended by a “puissant pont-levis.” By the fourteenth century, the castles were no longer built with a sole view to refuge and defence; the nobles no longer dwelt there as a last resort in war time, living in the guardroom with their garrison, and directing the defence amid the treasure. The castles of that time of transition were very habitable palaces; and Master Eustace passes from the military architecture to belaud the “noble aqueduct,” which carried water into the interior of the castle, and to praise the rich device of the halls and chambers, the excellent vivarium, the well-stocked preserves of game, the baths, the gardens, the rowing-boats, the shady park. “’Tis,” he finishes, “the pleasantest house I know—pour demourer la nouvelle saison.”

This is not the strain in which a thirteenth-century minstrel would have sung the praise of Coucy—the castle has become a country-house. The great square tower, flanked with turrets at the angles, which has succeeded to the round tower of defence, is spacious enough for luxurious habitation. Every story contains a large hall, a moderate-sized room and a smaller one, beside the four cabinets in the corner turrets. Generally, the gallery, the chapel, the dining-hall, and the lord’s private room or “retrait” occupied the first story; above came my lady’s chamber, her tiring-room, her oratory, and the “garde-robe,” where her dresses lay folded in spice and lavender, and where her maidens sewed by day and slept by night. The upper stories were occupied by the children and by the guests; and the castle was crowned by several tiers of “machicoulis,” or crenelated battlements, pierced by loopholes and communicating by a “chemin de ronde.”

The ground floor was still dark and difficult of access, lighted only by a few rare lancet-windows, and given over to store-rooms, bath-rooms, ice-houses, and suchlike uses. It communicated, by means of trap-doors, with the cellars and dungeons underneath. Philippe de Vigneulles, in his chronicle, has left us an unforgettable account of his imprisonment, well on in the fifteenth century, in a dungeon of this kind. There were no kitchens within the house, for the cooking was done in a round high-roofed building, like a baptistry, in an outer court, near the servants’ quarters; but sometimes the sick-chambers were situate on this dark, quiet, unfrequented ground floor, which preserved the tradition of its inaccessibility by the absence of any entrance on a level with the ground. A broad double flight of marble steps led from the court to the portal on the first floor. In any London suburb we still may see modest villas thus entered by a flight of steps raised above a high basement, which are, doubtless, quite unconscious of their direct descent from the keep of the twelfth century, entered only by a ladder reared against the front, or by knotted ropes let down from the first-floor window! By the 14th century, however, the Perron of the country-house was an object of great architectural dignity. It generally opened into a long gallery, or loggia, or verandah, occupying all one side of the keep: a sort of first-floor cloister, with clustered ogival windows looking on the court below; in fact, the lineal descendant of the Gallo-Roman peristyle or diambulatorium. I believe that in America it is still common. Here the squires and dames used to loiter, “regardant bas en la cour les joueurs de paume jouer.” Half the action of the novel of John of Saintré passes “ès galleries;” and no portion of the castle is more frequently cited by early poets. The Count of Foix received Master Jehan Froissart as he was walking after dinner in his gallery. In fact, the chief use of these loggia, loges, or laube, appears to have been as a promenade or loitering-place when it was too hot or too wet to meet in the orchard just beyond the walls. A very beautiful gallery of the Middle Ages is still preserved in the castle of Wartburg.

In the larger castles this gallery or loggia was sometimes distinct from the keep. Together with the great dining-hall (“sänger-saal” or “mandement”), where the lord sat in justice and received his guests, it formed a lower church-like building, in style much like an Oxford chapel, placed beside the keep and less strongly fortified. These separate halls were only used in time of peace. They were already well known in the thirteenth century, for in the palace of Percival—

And we read in the Lai de Lautrec—

But the sole square tower with its corner turrets remains, even in the fourteenth century, the type of the castle keep. The chateau of Vincennes, built by Charles V., is an admirable example of the kind.

II

It was not easy to enter the castle keep. It stood encircled by a strongly fortified enclosure, isolated by moat or precipice, and defended, not only by outworks of palisading, but by a barbican and several smaller towers. Having run the gauntlet of all this, having passed down the narrow winding path between the palisades, the visitor arrived at the moat, and blew a horn hung there for the purpose. After parley with porter and watchman, the drawbridge was let down; and after further parley, perchance, the great gate may have swung back on its hinges. In this case, the stranger found himself in a long hollow archway, protected by a series of portcullises, with a perforated roof, through which boiling pitch, molten lead, Greek fire, or simple scalding water could be poured down from an upper chamber. In time of peace, however, the visitor passed unscathed through the gate into a vast courtyard enclosed by huge battlemented walls or towers; a courtyard that is almost a village, for it contains the church, the knights’ quarters, the squires’ house, the lodgings for pages and servants, the barracks, the cottages of the artisans and labourers on the estate, the bake-house, the kitchen, the walled and gated fish-pond, the fountain, the washing-place, the stables, the barns, etc. A second gate, a second portcullis, lead to a smaller court, where—huge, swart, and sombre—towers the keep. It is immense, it is impregnable, and always opposite to the weakest point of the defence, with a postern of its own leading to the orchard, and a subterranean way into the open country. Those who have admired the black majesty of Loches will admit the grandeur of the mediæval keep.

Built against the castle’s outer wall, looking from its upper windows across the open country, the keep sometimes has pleasant views. An island castle, defended by a wide expanse of water, or lifted high above the plain upon a granite needle, could afford the luxury of light and air, could indulge in large windows, grouped three or four together in a space of dead wall, on which they make a lacework of pointed arch and separating columns. But the huge moated castle of the plain was less fortunate. The windows were rare, narrow, far apart. The walls, ten feet thick, made a deep and dark recess for the long lancet holes, more often closed with oiled and painted linen than with glass, and placed very high for the sake of safety. Sometimes they were as much as five feet above the floor. A few years ago in Florence, at the Palazzo Alessandri, I remember seeing windows of this sort, high-perched recesses, the size and shape of an opera-box, reached by a staircase cut in the stone of the wall. On the granite window-benches, heap embroidered cushions; lay a Saracen carpet on the floor; and set in this narrow shrine some fair young woman, lily-slender in her tight brocaded gown. She is playing chess with a squire still younger than herself. Or perhaps she is alone, singing to her lute some ballad of the Round Table—

III

Even nobles of some pretensions used in their daily life little more than the great hall of justice (where the movable trestle-tables were brought in at dinner-time), the gallery which answered to our modern drawing-room, the chapel, the chamber, and the garde-robe, where the young maids-of-honour learned to embroider amid their waiting-women.

These halls and chambers were furnished with some splendour. By the middle of the fourteenth century, the walls were no longer ornamented with the mere stencil-pattern in white and yellow ochre, which sufficed for the princely keep of Coucy. There is a frieze painted, with knights and goddesses, with “Vénus la Dieuesse d’Amour,” or else adorned in fresco or mosaic by “generations of Christians and Saracens painted in battle,” such as the Seigneur de Caumont admired on the walls of Mazières.[51] Lower down, the walls were often wainscotted like that—

where Percival found the Damosel. If the walls were left bare, they were furnished just below the frieze with an iron rod, whence depended hangings of warm stuff or tapestry. Every castle possessed several sets for each apartment, and the noble on his travels had at least one set of chamber-hangings strapped among his baggage. Nothing was easier than to suspend these stuffs, already provided with their hooks, to the rod and rings prepared to hold them. “One thousand hooks for tapestry,” is a common item in fourteenth-century accounts.[52]

The hangings were of plain serge, of worked silk cloth of gold, or “tapisserie de haute lisse,” according to the wealth of the noble or the splendour of the occasion they adorned. In times of mourning the hangings were all black. Such a “chamber,” consisting of wall-hangings, bed-furniture, chair-coverings, cushions, etc., in striped serge, with cord and fringe to match, was supplied to the Lady de la Trémoille in 1396, at a cost of fifty-nine livres—about £240 of our money. As the appearance of the hall could be changed at an hour’s notice on the occasion of mourning or festivities, even the greatest castles had ordinary hangings for common use. King Charles V. possessed no less than sixty-four “chambers,” or complete sets of hangings, in silk, velvet, cloth of silver, leather, embroidery, etc.[53] When Valentine Visconti, Duchess of Orleans, prepared to leave Paris in 1408, a few months before her death, a few months after her husband’s murder, she caused her chamberlain to draw up a list of her furniture, which still exists in the Bibliothèque Nationale. This document (pathetically marked by faded crosses against the names of such objects as Valentine desired to carry with her to Touraine) enumerates more than sixty sets of hangings. In the embroidered curtains, some of the subjects appear astonishingly modern, and indicate a complete mastery of the human figure on the part of the designers. As few persons, I believe, have had the privilege of reading this unpublished manuscript (communicated to me by the late Comte Albert de Circourt). I proceed to quote a few of the more interesting descriptions:—

“2. Bed-furniture of green; the baldaquin is worked with a design of angels; the long curtain depending from the tester behind the pillows represents shepherds and shepherdesses feasting on cherries and walnuts; the counterpane shows a shepherd and a shepherdess within a park; the whole is embroidered with gold thread and with coloured wools. Item, wall-hangings to match. Item, curtains for the walls, without gold, and three smaller curtains of green serge.

“3. Item, a ‘chamber’[54] in gold, silk, and wool, with a device of little children on a river bank, with birds flying overhead. There are three hangings to match, bed-furniture and sofa-cover. The counterpane is embroidered with a group of children, their heads meeting in the middle. Item, three other hangings, with a cherry-tree, and a dame and a squire gathering cherries in a basket—which go with the aforesaid chamber-hangings to make up (pour fournir).

“4. Item, another ‘chamber,’ of a brownish green, sans gold, with a lady holding a harp; and there are six hangings to match, with bed-furniture, and a quilt for the couch.

“17. Item, a great tapestry, with the history of the destruction of Troy the Great.

“Item, two wall hangings, with the victories of Theseus.

“Item, a green velvet cover for a couch, and a long cushion covered with green velvet, and two chair cushions, also of green velvet.

“19. Item, a white ‘chamber,’ sown with gladiolus; bed-furniture, quilt for couch, and four rugs.

“20. Item, a set of green tapestries de haute lisse, with the Fountain of Youth and several personages; with bed-hangings, counterpanes, sofa-covers, and six wall-hangings, all worked with gold, without guards (linen coverings or housses).

“Item, a ‘chamber,’ representing a lady playing with a knight at the game of chess.

“Item, a set of hangings of cloth of gold, including bed-curtains, counterpane, and two large cushions.”

These tapestries must have been as marvellous as those exquisite rose-grey hangings which still adorn the upper gallery of the Musée Cluny. The smaller curtains were stretched over screens of wicker, or served to drape the great roofed and cushioned settle near the fire, while cloths of gold and silver curtained the throne-like faldestuil reserved for the master of the house. Mats of plaited rushes, not unlike our India matting, were laid in winter on the floors under the delicate rugs of wool, imitated from the industry of the East; but in summer a strew of fresh rushes, mint, and gladiolus (that flower so dear to mediæval eyes), covered the pavement with a cool fragrance, while a bough of some green tree or flowering bush filled the hearth.[55] Great soft cushions, “carreaux” or “couettes,” were placed, sometimes on the chairs and benches, sometimes on the floor itself, according to their size. They served, like the tabourets of Saint Simon, for people of lesser dignity, seated on occasions of ceremony, in presence of their lord. There were also bankers, or stuffed backless benches (divans, as we should say), placed against the wall; dossiers, a sort of short sofa with a back and cushions; and armchairs provided with pavilions, or tester and curtains to keep off the draughts. There were always carpets in rich halls or chambers; long, narrow ones in front of the bankers and the settle, and larger thicker “tapis velus” in the middle of the room. Rugs of embroidered Hungarian leather, and skins of leopard or tiger were sometimes laid upon the hearth.[56]

IV

All these cushions, curtains, carpets, did not suffice to keep the cold from the great deep halls of our forerunners. A shiver runs through the literature of the age.

says Eustache Deschamps in his 805th Ballad, describing the Castle of Compiègne. Even in the house one must arm one’s self with good furry hose, furred pourpoints, warm fur-lined cloaks and hoods. In winter, men and women alike wore a long tunic of fur, quilted between two pieces of stuff, underneath their outer garments. But to be slender was the ideal, the supreme elegance of the later Middle Ages. In vain the Knight of La Tour warns his daughters of the fate of sundry very comely maidens, who, wishing to appear in their true slimness before their lovers, discarded their furred tunics despite the blast of winter, and turned the young men’s hearts against them by the chicken-flesh of their cheeks and the blueness of their noses! In vain he draws a salutary picture of lovers, at last united, dying of cold in the arms of one another, victims to the too chilly elegance of their figures! The furred tunic was all very well for gouty Master Eustace and the elderly knight: young beauties and trim gallants often preferred the risk of mortal illness, and let them grumble.

“Sy est cy bon exemple comment l’en ne se doit mie si lingement ne sy joliettement vestir, pour soy greslir et faire le beau corps en temps d’yver, que l’on en perde sa manière et sa couleur.”[57]

“Do not be shaved,” interrupts Master Eustace, who must decidedly have been an ill-dressed, slovenly old poet, “neither have your hair cut, nor take a bath this bitter weather.” The young people might reply that the Roman de la Rose prescribes the hot bath as a sovereign remedy against winter. The bath-room, with its warm pipes, its great wooden tubs, with the carved gilt garlands round them, its lounges for cooling, its little tables spread with a dainty supper, still preserved a souvenir of Roman luxury. People used to bathe in company, sometimes men and women together (as we still do at the sea-side), their heads beautifully dressed and adorned with flowers, their bodies hidden up to the neck in their great cask-like baths, where the water was often thickened with scented bran or strewn with a dust of salutary herbs.

sings Maistre Jehan de Meung—

In a German poem, Der nakte Bote quoted by Herr Alwin Schulz, a messenger arrives at a distant castle, and proceeds, as was the custom, to strip and take a bath after his dusty journey before presenting himself before the lord of the castle. What was his surprise on opening the door of the bath-room to behold my lord, my lady, and all their olive-branches disporting themselves in steaming tubs! It was, they explained, the only way they could keep themselves from freezing.

Master Eustace prefers a warm chamber, “nattée sus et jus,” with all the windows shut, a fur-lined dressing-gown, a bowl of old Beaune:

Contest of youth and age! But which, Master Eustace, would be better for your gout?

V

The hearth none the less was deep and ample. Sometimes several fireplaces, grouped together on a raised daïs, occupied all the upper end of the hall with their blazing hearths and shadowy overmantels. A magnificent example still exists at Bourges. In houses of less pretension the hall could boast but one chimney, but that at least was vast. A whole tree could be laid across the gigantic fire-dogs, whence the great blaze radiated warmth and light into the church-like frigidity of the hall. Those who know the Salle de Garde at Langeais, will remember its beautiful chimney-piece representing the Castle’s own crenelated chemin-de-ronde, carved with mimic soldiers and stooping watchers, who lean over the battlements to look at the blaze below; few objects are more stately than the monumental fourteenth-century fireplace. If the heat did not penetrate very far, if the humbler fry in the lower hall were grateful for their furs—at least, under the huge overmantel, where the curtained settles stood, there was a cosy ingle-nook for the master of the house, his wife, his children, his guests, his chief retainers.

In such noble houses as could not boast a resident physician, or a master of requests, or a staff of notaries and secretaries, there was, at least, invariably, a chaplain. Immediately below that reverend clerk came the seneschal who was constable, governor, or simple steward, according to the standing of the castle. When no separate dispenser was employed, the seneschal was dispenser, master of the household, and governor of the pages. Next to him came the butler; then, the chamberlain, to whom were entrusted the jewels, art treasures, and furniture of the castle; the marshal, or master of the horse, and the head falconer. All these were persons of importance, to be treated with a certain ceremony; they were frequently of noble blood; they accompanied their master on many of his journeys, and were rather his ministers than his servants. Next to them in order of rank stood the housekeeper or governess, often a beguine or Tertiary nun, who supervised the ordering of the house, engaged and controlled the servants, and governed the young girls of noble family serving in the castle as maids of honour. Under her came a swarm of chambermaids and housemaids, cooks and tailors, page-boys and varlets. Let us not forget from the list of our retainers that person of consideration, the fool: the ancestor of the modern diner-out. Fools and dwarfs were not to be found under every noble roof. The smaller country-houses were sometimes condemned to a distressing sanity, and depended for their amusement on wandering minstrels and the acrobats of the fair.

We have not counted in our list the knights and squires of the keep, nor yet the garrison with its captain, nor the artisans and labourers on the estate. For the moment we are occupied merely with the interior of the castle. And the chief thing that strikes us in it is the abundance of young people—the troops of boys and girls.

VI

Every castle was, in fact, a school—a seminary of polite education. From the king to the pettiest baron, every noble received at his court the children of his principal vassals; and thus every noble child was educated to the standard of the sphere immediately above his own. In their homes, from the age of seven, boys and girls alike had learned to spell, to ride, to know that they were Christians. At the age of ten or twelve they were generally sent to court. Here they learned, above all, the duties and behaviour of gentlepeople.

Great care was taken that they should be well-bred, chivalrous, courteous, neatly clad, and clean. Along with this, the boys learned to fence, shoot, fight with sword and shield, joust, play quintaine, tennis, palm-play, chess, draughts, and tric-trac. They were taught to ride, climb, leap, swim, and to perform all these feats in heavy armour and handicapped by difficult conditions. In a word, they were trained to amuse themselves, to exert themselves, and to endure. The Livre des Faiz de Jean Bouciquaut shows the great stress laid upon physical education; but it also shows that physical education was not all. Boys who would grow into knights, and pass through many courts and countries, had to learn several languages. French, of a sort, was taught in all European countries—often, no doubt, it was of the kind of Stratford-atte-Bowe—for French then, as now, was the language of diplomacy and courts. And some lads then, as now, acquired a little Greek and Latin; but so much learning was rarely encouraged save in the future Churchman. All noble children, boys and girls, learned to read and write, though frequently in after-life the warrior’s remembrance of these arts was no more precise than the knowledge possessed by our average country squire of the Iliad he used to parse at school. The women kept up their accomplishments: most noble women in England and Italy, as in France, could read, play some musical instrument, embroider, speak a little French, bind a wound and tend a fever, if comparatively few could wield the pen.

At twelve years old the page was sent to court. Here he was to finish his education, to win, if possible, his suzerain’s favour, and to lay the beginnings of his fortune. But at first he saw little of his lord. He was entirely under the control of the seneschal, the chamberlain, and the first equerry, for, as the name denotes, the young squire’s quarters were situate in the écuries. After a few years’ apprenticeship his opportunity might come. A chance might make him a page-messenger, and so he might earn the confidence of his Seigneur. He might, by his good manners and courtesy, awaken the attention of some noble dame. He might even accompany his suzerain to some superior court, attract the notice of the over-lord, and be adopted to that higher sphere. Thus the little Jehan de Saintré, a young lad in the household of his father’s suzerain in Touraine, was taken by that gallant knight to Paris, where the king took a fancy to the child—“tellement que il le voulut avoir en sa cour à estre son paige, pour après lui chevaucher, et au sourplus servir en salle, comme ses aultres paiges et enffans d’honneur.” But the natural course of things was for the lad to remain a page among his fellow-pages till the age of fifteen or sixteen, when he was ripe for the office of messenger or carver at the lord’s table. These offices entailed squireship. In this condition he remained until about the age of twenty, when, generally on the occasion of some princely wedding, some outbreak of war, some tournament or other great occasion, he was dubbed knight, and set forth on his adventures.

While all these lads from twelve to twenty were fencing, riding, or playing palm-play in the court, their sisters were employed in my lady’s company. They seldom came together with the men of the castle, save on holidays and feast-days. At other times they spent their time in my lady’s chamber or tiring-room, or walked with her in the country, for it was held unseemly that ladies of noble birth should be met walking alone. They were, in fact, much in the position of “girls still in the schoolroom” in a modern country-house. They learned their lessons with their governess, practised their lute, went to church every morning, embroidered chasubles and altar-cloths, and worked wonderful hangings for the cold stone walls. And there were from seventy to a hundred yards of needlework in a set of hangings! They could also spin fine silk and linen, and ornament with needlework their feast-day veils and dresses. (The less interesting forms of sewing were left to the army of tire-women and waiting-women who attended on the noble maidens and their lady.) They all knew how to ride and how to fly a hawk, to make wreaths and posies, to sing, to play, to beguile the long hours with chess, tric-trac, draughts; and the youngest of them began to deal and shuffle the new-invented “naypes,” or “naibi”—the first playing-cards. They could pluck or brew virtuous simples, bind a broken limb, or nurse a fever. They could amuse the convalescent with endless tales of the Round Table, with the legends of Charlemagne, and with lives of the saints no less interesting and romantic. Most of them could read aloud some novel: Cléomadès or Mélusine. They must, I think, have been blithe, charming, capable companions in the long winter of a lonely country-house. On the whole, with its constant undercurrent of chivalry and religion, theirs was an education which left its women delightful, tender of heart, and generous, if, perhaps, with little moral strength to resist the illusions of the heart.

VII

From December till the end of March, life in the castle was perforce an idle one. War was rarely made in winter; there were no tourneys in the bitter weather, too cold for combatant or spectator; and in heavy snow time there was perforce a truce to hunting of the more vigorous kind. It would have been extravagant to rise before candlelight, so that it was after seven when knights and ladies left their curtained beds, washed their hands and face in rose-water, heard the Mass, and took their morning broth. Dinner, which in the summer was sometimes as early as nine, was sometimes in winter put as late as noon. And after dinner there was the siesta—the apparently inevitable siesta, sensible enough in summer heats after a morning already seven or eight hours old, but inexplicable during the best part of a winter’s day. Still, in all the novels and chronicles of the fourteenth century, I am bound to admit that, at all seasons of the year, after the principal meal, both men and women retire to sleep for at least a couple of hours. It is true the meal was long and heavy, and highly spiced. Still, in our visions of mediæval heroes we cannot imagine Charlemagne nodding after dinner every day, despite the assurance of Philippe Mouskes “that he always undressed himself and slept for two hours after the midday meal, holding the practice for a very wholesome one.”[58] We do not evoke Knight Percival and his companions as sleeping half the afternoon away. Yet—

Joinville mentions, as the most natural thing in the world, that St. Louis went to bed every day after the midday dinner until vespers; while the child Jehan de Saintré, Damp Abbez, the Dame des Belles Cousines, Pero Niño, the Dame de Sérifontaines, the Lady of Fayel, the Chastelain de Coucy, all the brood of fourteenth-century heroes and heroines, follow, in this respect, the example of their elders.

Towards three o’clock, our dames and knights aroused themselves, took a slender meal of bread dipped in wine or hypocras, and preserved fruits, and then set out to vespers. We still are faithful to the afternoon-tea, but we have dropped the daily church service. After vespers the winter evening had closed in—the fourteenth-century evening ill-lit by flaring torches. It was fortunate if pedlar or pilgrim, minstrel or acrobat, knocked at the castle gate and demanded hospitality. Otherwise, despite the well-worn facetiæ of Master Hausselicoq, the fool, the evening was apt to prove a trifle long.

The accounts of fourteenth-century barons abound in mention of minstrels, acrobats, “joueurs d’espertise,” “joueurs de la corde,” “chanteurs et chanteresses,” and all the motley crew.[60] Every castle was glad to extend its hospitality to wayfarers of every kind, for they brought news and amusement, and renewed the worn-out stock of gossip. Two little pictures of people of this sort occur to me as I am writing. One is a sketch of the Welsh or Breton harper, from the poem of Renart. When Renart, disguised as a jongleur, offered to sing to Isengrin his lays of the Round Table, he put on a strange jargon, and proceeded to tell his story in almost unintelligible French—

Wrapped in their weather-beaten mantle, shaggy, ridiculous, singing much as sings Hans Breitmann to-day, it is thus (according to M. Joseph Bédier[61]) that we must picture the minstrels who sang of Tristan and Yseult. Probably they used their strange, absurd prose merely as a medium to explain the story to their hearers in much such a chante-fable as “Aucassin et Nicolette,” while they sang their lyrics in their Celtic tongue to the music of their harps. And if the voice is sweet, after all, the language is of little consequence.

Our other tiny idyl is drawn from the arrival of the pedlar at the castle of the Lady of Fayel. That hapless and guilty lady, desirous at all risks to meet her noble lover, bids the Chastelain de Coucy don the pedlar’s garb in order to approach her. He puts on rough laced boots and a coat of coarse cloth, on his head a torn and battered hat, a stick in his hand, a pack upon his back. He comes to the castle and undoes his wares:

The lady and her maidens stand round and pick and choose, praise this, bargain for that, choose and discard in true feminine fashion.

But when the pack is strapped again, the pedlar murmurs that it is late. “And it rains!” cries the Dame de Fayel. So the packman stays all night at the castle, and my lady finds means to get speech with her lover.

In the summer, when there were tourneys and weddings and other festivities in the countryside, not only packmen passed and minstrels, but acrobats, conjurers who swallowed knives and lighted candles, keepers of learned pigs and clever dogs, owners of puppet-shows, dancers and jongleurs in plenty. They travelled from place to place, lodging in the castle or the village inn, always welcome guests in the monotony of country life. But all these visitors were rarer birds in winter. Then the long days were passed in chess-playing and tric-trac; heavy bets were laid and taken, and in the cumber of their idleness many a knight was ruined out of sheer ennui.

Gambling was the curse of the noble, as it has always been the curse of every class trained to win and to desire, but with scant outlets for its energies. The knights in winter gambled pretty nearly all day long. We remember how the Servitor of Milun, entering a castle in the morning, finds in the great hall two knights playing chess, so absorbed that they do not see him.... “When Easter comes,” say the knights to Milun, “we will recommence our tournaments,” but until Easter there is no rival to their games of chance, except the eternal game of love. Chess was the baccarat, the bridge of the Middle Ages. In vain the king forbade it in 1369, in 1393, and both before and after, with every other game of hazard. But who was to enter the snowed-up country castle, to tell tales of knights and ladies playing the forbidden game? The women were almost as bad as the men. “Never play chess, save for love,” says the Knight de la Tour to his daughters: “ne soyez jamais grant jouaresses de tables.” And he proceeds to tell them melancholy tales of land, of money, and of women’s honour spent over the too enticing board. But, alas, good knight, the days are ill to pass in winter time!

VIII

So there was great joy when the trees began to redden: