By long experience, gained on many such occasions, the Vidame knew that the culminating point of the supper would be reached when the family drummer swam the river and headed the French charge at Arcolo. Therefore had he reserved until a later period, when the excitement incident to the revival of that honourable bit of family history should have subsided, a joy-giving bomb-shell of his own that he had all ready to explode. An American or an Englishman never could have fired it without something in the way of speech-making; but the Vidame was of a shy temper, and speech-making was not in his line. When the chatter caused by Magali's costuming had lulled a little, and there came a momentary pause in the talk, he merely reached diagonally across the table and touched glasses with Esperit and said simply: "To your good health, Monsieur the Superintendent of the Lower Farm!"

It was done so quietly that for some seconds no one realized that the Vidame's toast brought happiness to all the household, and to two of its members a life-long joy. Esperit, even, had his glass almost to his lips before he understood to what he was drinking; and then his understanding came through the finer nature of Magali—who gave a quick deep sob as she buried her face in the buxom Nanoun's bosom and encircled that astonished young person's neck with her arms. Esperit went pale at that; but the hand did not tremble in which he held his still-raised glass, nor did his voice quaver as he said with a deep earnestness: "To the good health of Monsieur le Vidame, with the thanks of two very happy hearts!"—and so drained his wine.

A great danger puts no more strain upon the nerves of a man of good fibre than does a great joy; and it seemed to me that Esperit's absolute steadiness, under this sudden fire of happiness, showed him to be made of as fine and as manly stuff as went to the making of his kinsman who beat the pas-de-charge up the slope at Arcolo at the head of the Fifty-first Demi-brigade.

But nothing less than the turbulence of the whole battle of Arcolo—not to say of that whole triumphant campaign in Italy—will suffice for a comparison with the tumult that arose about our supper-table when the meaning of the Vidame's toast fairly was grasped by the company at large! I do not think that I could express in words—nor by any less elaborate method of illustration than a kinetoscope—the state of excitement into which a Provençal will fly over a matter of absolutely no importance at all; how he will burst forth into a very whirlwind of words and gestures about some trifle that an ordinary human being would dispose of without the quiver of an eye. And as our matter was one so truly moving that a very Dutchman through all his phlegm would have been stirred by it, such a tornado was set a-going as would have put a mere hurricane of the tropics to open shame!

Naturally, the disturbance was central over Esperit and Magali and the Vidame. The latter—his kind old face shining like the sun of an Easter morning—gave back with a good will on Magali's cheeks her kisses of gratitude; and exchanged embraces and kisses with the elder women; and went through such an ordeal of violent hand-shaking that I trembled for the integrity of his arms. But as for the young people, whom everybody embraced over and over again with a terrible energy, that they came through it all with whole ribs is as near to being a miracle as anything that has happened in modern times!

Gradually the storm subsided—though not without some fierce after-gusts—and at last worked itself off harmlessly in song: as we returned to the ritual of the evening and took to the singing of noëls—the Christmas canticles which are sung between the ending of the Great Supper and the beginning of the midnight mass.

XIV

The Provençal noëls—being some real, or some imagined, incident of the Nativity told in verse set to a gay or tender air—are the crèche translated into song. The simplest of them are direct renderings of the Bible narrative. Our own Christmas hymn, "While shepherds watched their flocks by night," is precisely of this order; and, indeed, is of the very period when flourished the greatest of the Provençal noël writers: for the Poet Laureate Nahum Tate, whose laurel this hymn keeps green, was born in the year 1652 and had begun his mildly poetic career while Saboly still was alive.

But most of the noëls—nouvè, they are called in Provençal—are purely imaginative: quaintly innocent stories created by the poets, or taken from those apocryphal scriptures in which the simple-minded faithful of Patristic times built up a warmly coloured legend of the Virgin's life and of the birth and childhood of her Son. Sometimes, even, the writers stray away entirely from a religious base and produce mere roistering catches or topical songs. Such are those Marseille noëls which are nothing more than Pantagruelian lists of succulent dishes proper to Christmas time—frankly ending, in one case, with the materialistic query: "What do I care for the future, now that my belly is well lined?" It was against such "bacchanals of noël" that the worthy Father Cotton preached in Marseille in the year 1602: but the flesh and the devil always have had things pretty much their own way in that gay city, and he preached in vain. And at Aix-en-Provence the most popular noël of all that were sung in the cathedral was a satirical review of the events of the year: that as time went on grew to be more and more of a scandal, until at last the Bishop had to put a stop to it in the year 1653.

The Provençaux have been writing noëls for more than four hundred years. One of the oldest belongs to the first half of the fifteenth century and is ascribed to Raimond Féraud; the latest are of our own day—by Roumanille, Crousillat, Mistral, Girard, Gras, and a score more. But only a few have been written to live. The memory of many once-famous noël-writers is preserved now either mainly or wholly by a single song. Thus the Chanoine Puech, who died at Aix almost two hundred and fifty years ago, lives in the noël of the Christ-Child and the three gypsy fortune-tellers—which he stole, I am sorry to say, from Lope de Vega. The Abbé Doumergue, of Aramon, who flourished at about the same period, is alive because of his "March of the Kings": that has come ringing down through the ages set to Lulli's magnificent "March of Turenne"; and it is interesting to note that Lulli is said to have found his noble motive in a Provençal air. Antoine Peyrol, who lived only a little more than a century ago, and who "in our good city of Avignon was a carpenter and wood-seller and a simple-hearted singer of Bethlehem" (as Roumanille puts it) has fared better, more than a dozen of his noëls surviving to be sung each year when "the nougat bells" (as they call the Christmas chimes in Avignon) are ringing in his native town. And, on the other hand, as though to strike a balance between fame and forgottenness, there are some widely popular noëls—as "C'est le bon lever"—of which the authorship absolutely is unknown; while there are still others—as the charming "Wild Nightingale"—which belong to no one author, but have been built up by unknown farm-house poets who have added fresh verses and so have passed on the amended song.

The one assured immortal among these musical mortalities is Nicolas Saboly: who was born in Monteux, close by Avignon, in the year 1614; who for the greater part of his life was chapel-master and organist of the Avignon church of St. Pierre; who died in the year 1675; and who lies buried in the choir of the church which for so long he filled with his own heaven-sweet harmonies. Of his beautiful life-work, Roumanille has written: "As organist of the church of St. Pierre, Saboly soon won a great and beautiful renown as a musician; but his fame and his glory have come to him because of the blessed thought that he had of composing his marvellous noëls. Yet it was not until the year 1658, when he himself was fifty-four years old, that he decided to tie together and to publish his first sheaf of them. From that time onward, every year until his end, a fresh sheaf of from six to a dozen appeared; and, although no name went with them, all of his townsfolk knew that it was their own Troubadour of the Nativity who made them so excellent a gift just as the nougat bells began to ring. The organ of St. Pierre, touched by his master hand, taught the gay airs to which the new noëls were cast. And all Avignon presently would be singing them, and soon the chorus would swell throughout the Comtat and Provence. The inimitable Troubadour of Bethlehem died just as he had tied together the eighth of his little sheaves.... His noëls have been reprinted many times; and, thanks be to God, they will be printed again and again forever!"[3]

In addition to being a genius, Saboly had the good fortune to live in one of the periods of fusing and recasting which give to genius its opportunity. He was born at the very time when Claude Monteverde was taking those audacious liberties with harmony which cleared the way for the transition from the old tonality to the new; and he died before the great modern masters had set up those standards which composers of our time must either accept or defy. He certainly was influenced by the then new Italian school; indeed, from the fourteenth century, when music began to be cultivated in Avignon, the relations between that city and Italy were so close that the first echoes of Italian musical innovators naturally would be heard there. Everywhere his work shows, as theirs does, a searching for new methods in the domain of modulation, and a defiance of the laws of transformation reverenced by the formal composers of his time. Yet he did his searching always on his own lines and in his own way.

Nor was his original genius lessened by his willingness at times to lay hands on the desirable property of other people—since his unlawful acquisitions received always a subtle touch which really made them his own. He knew well how to take the popular airs of the moment—the gavotte or minuet or vaudeville which every one was singing: the good old airs, as we call them now, which then were the newest of the new—and how to infuse into them his own personality and so to fit them like a glove to his own noëls. Thus, his Twelfth noël is set to an air composed by Lulli for the drinking song, "Qu'ils sont doux, bouteille jolie," in Molière's "Médecin malgré lui"; and those who are familiar with the music of his time will be both scandalized and set a-laughing by finding the uses to which he has put airs which began life in far from seemly company. But his forays were made from choice, not from necessity, and the best of his noëls are his own.

Saboly's music has a "go" and a melodic quality suggestive of the work of Sir Arthur Sullivan; but it has a more tender, a fresher, a purer note, even more sparkle, than ever Sullivan has achieved. In his gay airs the attack is instant, brilliant, overpowering—like a glad outburst of sweet bells, like the joyous laughter of a child—and everything goes with a dash and a swing. But while he thus loved to harmonize a laugh, he also could strike a note of infinite tenderness. In his pathetic noëls he drops into thrillingly plaintive minors which fairly drag one's heart out—echoes or survivals, possibly (for this poignant melody is not uncommon in old Provençal music), of the passionately longing love-songs with which Saracen knights once went a-serenading beneath castle windows here in Provence.

Nor is his verse, of its curious kind, less excellent than his music. By turns, as the humour takes him, his noëls are sermons, or delicate religious fancies, or sharp-pointed satires, or whimsical studies of country-side life. One whole series of seven is a history of the Nativity (surely the quaintest and the gayest and the tenderest oratorio that ever was written!) in which, in music and in words, he is at his very best. Above all, his noëls are local. His background always is his own country; his characters—Micolau the big shepherd, gossip Guihaumeto, Tòni, Christòu, and the rest—always are Provençaux: wearing Provençaux pink-bordered jackets, and white hats bedizened with ribbons, and marching to Bethlehem to the sound of the galoubet and tambourin. It is from Avignon, out by the Porte Saint Lazare, that the start for Bethlehem is made by his pilgrim company; the Provençal music plays to cheer them; they stamp their feet and swing their arms about, because the mistral is blowing and they are desperately cold. It is a simplicity half laughable, half pathetic—such as is found in those Mediæval pictures which represent the Apostles or the Holy Family in the garb of the artist's own time and country, and above the walls of Bethlehem the church spire of his own town.

This naïve local twist is not peculiar to Saboly. With very few exceptions all Provençal noëls are packed full of the same delightful anachronisms. It is to Provençal shepherds that the Herald Angel appears; it is Provençaux who compose the bregado, the pilgrim company, that starts for Bethlehem; and Bethlehem is a village, always within easy walking distance, here in Provence. Yet it is not wholly simplicity that has brought about this shifting of the scene of the Nativity from the hill country of Judæa to the hill country of Southeastern France. The life and the look of the two lands have much in common; and most impressively will their common character be felt by one who walks here by night beneath the stars.

Here, as in the Holy Land, winding ways pass out from olive-orchards, and on across dry reaches of upland broken by outcropping rocks and scattered trees and bushes and sparsely thatched with short dry grass. Through the silence will come now and then the tinkle of sheep-bells. Sometimes a flock will be seen, dimly in the starlight, feeding beside the road; and watching, from an overlooking standpoint on a rock or little upswelling hill-top, will be its shepherd: a tall muffled figure showing black against the loom of the sky. And it all is touched, in the star-haze of those sombre solitudes, with the poetic realism of unreality; while its deeper meaning is aroused by the stone crosses, telling of Calvary, which are found at every parting of the ways. Told to simple dwellers in such a land the Bible story was neither vague nor remote. They knew its setting because their own surroundings were the same. They practised the shepherd customs; the ass was their own beast of burden; the tending of vines and fig-trees and olive-orchards was a part of their daily lives. And so, naturally, the older noël writers without any thought of anachronism, and the modern writers by poetic instinct made complete their translation of the story of the Nativity into their vernacular by transferring its scene to their own land.

XV

It was with Saboly's "Hòu, de l'houstau!" that our singing began. It is one of the series in his history of the Nativity and is the most popular of all his noëls: a dialogue between Saint Joseph and the Bethlehem inn-keeper, that opens with a sweet and plaintive long-drawn note of supplication as Saint Joseph timorously calls:

And then it continues with humble entreaties for shelter for himself and his wife, who is very near her time; to which the host replies with rough refusals for a while, but in the end grants grudgingly a corner of his stable in which the wayfarers may lie for the night.

Esperit and Magali sang this responsively; Magali taking Saint Joseph's part—in which, in all the noëls, is a strain of feminine sweetness and gentleness. Then Marius and Esperit, in the same fashion, sang the famous "C'est le bon lever": a dialogue between an Angel and a Shepherd, in which the Angel—as becomes so exalted a personage—speaks French, while the Shepherd speaks Provençal.

"It's high time to get up, sweet shepherd," the Angel begins; and goes on to tell that "in Bethlehem, quite near this place," the Saviour of the world has been born of a Virgin.

"Perhaps you take me for a common peasant," the Shepherd answers, "talking to me like that! I am poor, but I'd have you to know that I come of good stock. In old times my great-great-grandfather was mayor of our village! And who are you, anyway, fine sir? Are you a Jew or a Dutchman? Your jargon makes me laugh. A virgin mother! A child god! No, never were such things heard!"

But when the Angel reiterates his strange statement the Shepherd's interest is aroused. He declares that he will go at once and steal this miraculous child; and he quite takes the Angel into his confidence—as though standing close to his elbow and speaking as friend to friend. In the end, of course, he is convinced of the miracle, and says that he "will get the ass and set forth" to join the worshippers about the manger at Bethlehem.

There are many of these noëls in dialogue; and most of them are touched with this same quality of easy familiarity with sacred subjects, and abound in turns of broad humour which render them not a little startling from our nicer point of view. But they never are coarse, and their simplicity saves them from being irreverent; nor is there, I am sure, the least thought of irreverence on the part of those by whom they are sung. I noticed, though, that these lively numbers were the ones which most hit the fancy of the men; while the women as plainly showed their liking for those of a finer spirit in which the dominant qualities were pathos and grace.

Of this latter class is Roumanille's rarely beautiful noël "The Blind Girl" ("La Chato Avuglo")—that Magali sang with a tenderness which set the women to crying openly, and which made the older men cough a little and look suspiciously red about the eyes. Of all the modern noëls it has come closest to and has taken the strongest hold upon the popular heart: this pathetic story of the child "blind from her birth" who pleads with her mother that she also may go with the rest to Bethlehem, urging that though she cannot see "the lovely golden face" she still may touch the Christ-Child's hand.

But without the music, and with only these crude translations in which is lost also the music of the words, I feel that I am giving very much less than the true effect of these Provençal Christmas songs. To be appreciated, to be understood, they must be heard as I heard them: sung by that Christmas company, with Magali's tenderly vibrant voice leading the chorus in which every one of those singing Provençaux joined. Even the old grandfather—still standing at the fire-place—marked the time of the music with the knife that he held in his hand; and his thin old voice piped in with the others, and had a gay or a tender ring in it with the changing melody, for all that it was so cracked and shrill.

I am persuaded, so thoroughly did they all enjoy their own carolling, that the singing of noëls would have gone on until broad daylight had it not been for the intervention of the midnight mass. But the mass of Christmas Eve—or, rather, of Christmas morning—is a matter not only of pleasure but of obligation. Even those upon whom churchly requirements at other times rest lightly rarely fail to attend it; and to the faithful it is the most touchingly beautiful—as Easter is the most joyous—church festival of the year.

By eleven o'clock, therefore, we were under way for our walk of a mile or so down the long slope of the hill side to the village: a little clump of houses threaded by narrow crooked streets and still in part surrounded by the crusty remnant of a battlemented wall—that had its uses in the days when robber barons took their airings and when pillaging Saracens came sailing up the slack-water lower reaches of the Rhône. Down the white road in the moonlight we went in a straggling company, while more and more loudly came to us through the crisp night air the sound of the Christmas bells.

Presently some one started a very sweet and plaintive noël: fairly heart-wringing in its tender beseeching and soft lament, yet with a consoling under-note to which it constantly returned. I think, but I am not sure, that it was Roumanille's noël telling of the widowed mother who carried the cradle of her own baby to the Virgin, that the Christ-Child might not lie on straw. One by one the other voices took up the strain, until in a full chorus the sorrowingly compassionate melody went thrilling through the moonlit silence of the night.

And so, singing, we walked by the white way onward; hearing as we neared the town the songs of other companies coming up, as ours was, from outlying farms. And when they and we had passed in through the gateways—where the townsfolk of old lashed out against their robber Infidel and robber Christian enemies—all the black little narrow streets were filled with an undertone of murmuring voices and an overtone of clear sweet song.

XVI

On the little Grande Place the crowd was packed densely. There the several streams of humanity pouring into the town met and mingled; and thence in a strong current flowed onward into the church. Coming from the blackness without—for the tall houses surrounding the Grande Place cut off the moonlight and made it a little pocket of darkness—it was with a shock of splendour that we encountered the brightness within. All the side-altars were blazing with candles; and as the service went on, and the high-altar also flamed up, the whole building was filled with a soft radiance—save that strange luminous shadows lingered in the lofty vaulting of the nave.

After the high-altar, the most brilliant spot was the altar of Saint Joseph, in the west transept; beside which was a magnificent crèche—the figures half life-size, beautifully modelled, and richly clothed. But there was nothing whimsical about this crèche: the group might have been, and very possibly had been, composed after a well-painted "Nativity" by some artist of the late Renaissance.

The mass was the customary office; but at the Offertory it was interrupted by a ceremony that gave it suddenly an entirely Mediæval cast: of which I felt more fully the beauty, and the strangeness in our time, because the Vidame sedulously had guarded against my having knowledge of it in advance. This was nothing less than a living rendering of the Adoration of the Shepherds: done with a simplicity to make one fancy the figures in Ghirlandojo's picture were alive again and stirred by the very spirit that animated them when they were set on canvas four hundred years ago.

By some means only a little short of a miracle, a way was opened through the dense crowd along the centre of the nave from the door to the altar, and up this way with their offerings real shepherds came—the quaintest procession that anywhere I have ever seen. In the lead were four musicians—playing upon the tambourin, the galoubet, the very small cymbals called palets, and the bagpipe-like carlamuso—and then, two by two, came ten shepherds: wearing the long brown full cloaks, weather-stained and patched and mended, which seem always to have come down through many generations and which never by any chance are new; carrying tucked beneath their arms their battered felt hats browned, like their cloaks, by long warfare with sun and rain; holding in one hand a lighted candle and in the other a staff. The two leaders dispensing with staves and candles, bore garlanded baskets; one filled with fruit—melons, pears, apples, and grapes—and in the other a pair of doves: which with sharp quick motions turned their heads from side to side as they gazed wonderingly on their strange surroundings with their bright beautiful eyes.

Following came the main offering: a spotless lamb. Most originally, and in a way poetically, was this offering made. Drawn by a mild-faced ewe, whose fleece had been washed to a wonder of whiteness and who was decked out with bright-coloured ribbons in a way to unhinge with vanity her sheepish mind, was a little two-wheeled cart—all garlanded with laurel and holly, and bedizened with knots of ribbon and pink paper roses and glittering little objects such as are hung on Christmas-trees in other lands. Lying in the cart placidly, not bound and not in the least frightened, was the dazzlingly-white lamb, decked like the ewe with knots of ribbon and wearing about its neck a red collar brilliant to behold. Now and then the ewe would turn to look at it, and in response to one of those wistful maternal glances the little creature stood up shakily on its unduly long legs and gave an anxious baa! But when a shepherd bent over and stroked it gently, it was reassured; lying down contentedly again in its queer little car of triumph, and thereafter through the ceremony remaining still. Behind the car came ten more shepherds; and in their wake a long double line of country-folk, each with a lighted candle in hand. There is difficulty, indeed, in keeping that part of the demonstration within bounds, because it is esteemed an honour and a privilege to walk in the procession of the offered lamb.

Slowly that strange company moved toward the altar, where the ministering priest awaited its coming; and at the altar steps the bearers of the fruit and the doves separated, so that the little cart might come between them and their offering be made complete, while the other shepherds formed a semi-circle in the rear. The music was stilled, and the priest accepted and set upon the altar the baskets; and then extended the paten that the shepherds, kneeling, might kiss it in token of their offering of the lamb. This completed the ceremony. The tambourin and galoubet and palets and carlamuso all together struck up again; and the shepherds and the lamb's car passed down the nave between the files of candle-bearers and so out through the door.

Within the past sixty years or so this naïve ceremony has fallen more and more into disuse. But it still occasionally is revived—as at Barbentane in 1868, and Rognonas in 1894, and repeatedly within the past decade in the sheep-raising parish of Maussane—by a curé who is at one with his flock in a love for the customs of ancient times. Its origin assuredly goes back far into antiquity; so very far, indeed, that the airs played by the musicians in the procession seem by comparison quite of our own time: yet tradition ascribes the composition of those airs to the good King René, whose happy rule over Provence ended more than four centuries ago.

Another custom of a somewhat similar character, observed formerly in many of the Provençal churches, was the grouping before the altar at the mass on Christmas Day of a young girl, a choir-boy, and a dove: in allegorical representation of the Virgin Mary, the Angel Gabriel, and the Holy Ghost. But the assembly of this quaint little company long since ceased to be a part of the Christmas rite.

XVII

When the stir caused by the coming and the going of the shepherds had subsided, the mass went on; with no change from the usual observance, until the Sacrament was administered, save that there was a vigorous singing of noëls. It was congregational singing of a very enthusiastic sort—indeed, nothing short of gagging every one of them could have kept those song-loving Provençaux still—but it was led by the choir, and choristers took the solo parts. The most notable number was the famous noël in which the crowing of a cock alternates with the note of a nightingale; each verse beginning with a prodigious cock-a-doodle-d-o-o! and then rattling along to the gayest of gay airs. The nightingale was not a brilliant success; but the cock-crowing was so realistic that at its first outburst I thought that a genuine barn-yard gallant was up in the organ-loft. I learned later that this was a musical tour-de-force for which the organist was famed. A buzz of delight filled the church after each cock-crowing volley; and I fancy that I was alone in finding anything odd in so jaunty a performance within church walls. The viewpoint in regard to such matters is of race and education. The Provençaux, who are born laughing, are not necessarily irreverent because even in sacred places they sometimes are frankly gay.

Assuredly, there was no lack of seemly decorum when the moment came for the administration of the Sacrament; which rite on Christmas Eve is reserved to the women, the men communing on Christmas Day. The women who were to partake—nearly all who were present—wore the Provençal costume, but of dark colour. Most of them were in black, save for the white chapelle, or kerchief, and the scrap of white which shows above the ribbon confining the knotted hair. But before going up to the altar each placed upon her head a white gauze veil, so long and so ample that her whole person was enveloped in its soft folds; and the women were so many, and their action was with such sudden unanimity, that in a moment a delicate mist seemed to have fallen and spread its silvery whiteness over all the throng.

Singly and by twos and threes those palely gleaming figures moved toward the altar, until more than a hundred of them were crowded together before the sanctuary rail. Nearest to the rail, being privileged to partake before the rest, stood a row of black-robed Sisters—teachers in the parish school—whose sombre habits made a vigorous line of black against the dazzle of the altar, everywhere aflame with candles, and by contrast gave to all that sweep of lustrous misty whiteness a splendour still softer and more strange. And within the rail the rich vestments of the ministering priests, and the rich cloths of the altar, all in a flood of light, added a warm colour-note of gorgeous tones.

Slowly the rite went on. Twenty at a time the women, kneeling, ranged themselves at the rail; rising to give room to others when they had partaken, and so returning to their seats. For a full half hour those pale lambent figures were moving ghost-like about the church, while the white-veiled throng before the altar gradually diminished until at last it disappeared: fading from sight a little at a time, softly—as dream-visions of things beautiful melt away.

Presently came the benediction: and all together we streamed out from the brightness of the church into the wintry darkness—being by that time well into Christmas morning, and the moon gone down. But when we had left behind us the black streets of the little town, and were come out into the open country, the star-haze sufficed to light us as we went onward by the windings of the spectral white road: for the stars shine very gloriously in Provence.

We elders kept together staidly, as became the gravity of our years; but the young people—save two of them—frolicked on ahead and took again with a will to singing noëls; and from afar we heard through the night-stillness, sweetly, other home-going companies singing these glad Christmas songs. Lingering behind us, following slowly, came Esperit and Magali—to whom that Christmas-tide had brought a life-time's happiness. They did not join in the joy-songs, nor did I hear them talking. The fullest love is still.

And peace and good-will were with us as we went along the white way homeward beneath the Christmas morning stars.

Saint-Remy-de-Provence,
September, 1896.

A Feast-Day on the Rhône

By a semi-right and by a large courtesy, we of America were of this gay party. Four years earlier, as the official representatives of an American troubadour, we had come upon an embassy to the troubadours of Provence; and such warm relations had sprung up between ourselves and the poets to whom we were accredited that they had ended by making us members of their own elect body: the Society of the Félibrige—wherein are united the troubadours of these modern times. As Félibres, therefore, it was not merely our right but our duty to attend the festival of the Sainte-Estelle; and our official notification in regard to this meeting—received in New York on a chill day in the early spring-time—announced also that we were privileged to journey on the special steamboat chartered by our brethren of Paris for the run from Lyons to Avignon down the Rhône.

II

We were called at five o'clock in the morning. Even the little birds of Lyons were drowsy at that untoward and melancholy hour. As I slowly roused myself I heard their sleepy twitterings out in the trees on the Cours du Midi—and my sympathies were with them. There are natures which are quickened and strengthened by the early day. Mine is not such. I know of nothing which so numbs what I am pleased to term my faculties as to be particeps criminis in the rising of the sun.

But life was several shades less cheerless by the time that we left the Hôtel Univers—which I ever shall remember gratefully because it ministered so well, even in the very midst of the driving bustle of the Lyons Exposition, to our somewhat exacting needs—and went down to the river side. Already the mists of morning had risen, and in their place was the radiant sunshine of the Midi: that penetrating, tingling sunshine which sets the blood to dancing and thence gets into the brain and breeds extravagant fancies there which straightway are uttered as substantial truths—as M. Daudet so often has told us; and also, when writing about this his own dearly-loved birth-land, so often has demonstrated in his own text.

Yet had we come to the boat while still in the lowering mood begotten of our intemperate palterings with the dawn we must have yielded quickly to the infectious cheerfulness which obtained on board the Gladiateur. Even a Grey Penitent would have been moved, coming unawares into that gay company, to throw off his cagoule and to dance a saraband. From end to end the big Gladiateur was bright with bunting—flags set in clusters on the great paddle-boxes, on the bow, on the stern—and the company thronging on board was living up to the brightness of the sunshine and the flags.

For they were going home, home to their dear South, those poet exiles: and their joy was so strong within them that it almost touched the edge of tears. I could understand their feeling because of a talk that I had had three days before, in Paris, with Baptiste Bonnet: up in his little apartment under the mansard, with an outlook over the flowers in the window-garden across roof-tops to Notre Dame. Bonnet could not come upon this expedition—and what love and longing there was in his voice while he talked to us about the radiant land which to him was forbidden but which we so soon were to see! To know that we were going, while he remained behind, made us feel like a brace of Jacobs; and when Madame Bonnet made delicious tea for us—"because the English like tea," as she explained with a clear kindliness that in no wise was lessened by her misty ethnology—we felt that so to prey upon their hospitality in the very moment that we were making off with their birthright was of the blackest of crimes. But because of what our dear Bonnet had said, and of the way in which he had said it, I understood the deep feeling that underlay the exuberant gayety of our boat-mates—and it seemed to me that there was a very tender note of pathos in their joy.

They were of all sorts and conditions, our boat-mates: a few famous throughout the world, as the player Mounet-Sully, the painter Benjamin Constant, the prose poet Paul Arène; many famous throughout France; and even in the rank and file few who had not raised themselves above the multitude in one or another of the domains of art. And all of them were bound together in a democratic brotherhood, which yet—because the absolute essential to membership in it was genius—was an artistic aristocracy. With their spiritual honours had come to many of them honours temporal; indeed, so plentiful were the purple ribbons of the Palms and the red rosette of the Legion—with here and there even a Legion button—as to suggest that the entire company had been caught out without umbrellas while a brisk shower of decorations passed their way. A less general, and a far more picturesque, decoration was the enamelled cigale worn by the Cigaliers: at once the emblem of their Society, of the Félibrien movement, and of the glowing South where that gayest of insects is born and sings his life out in the summer days.

Most of the poets came to the boat breakfastless, and their first move on board was toward the little cabin on deck wherein coffee was served. The headwaiter at the improvised breakfast table—as I inferred not less from his look and manner than from his ostentatiously professed ignorance of his native tongue—was an English duke in reduced circumstances; and his assistants, I fancy, were retired French senators. Indeed, those dignified functionaries had about them an air of high comedy so irresistible, and so many of the ladies whom they served were personages of the Odéon or the Comédie Française, that only the smell of the coffee saved the scene from lapsing into the unrealism of the realistic stage.

Seven o'clock came, but the Gladiateur remained passive. At the gang-plank were assembled the responsible heads of the expedition—who were anything but passive. They all were talking at once, and all were engaged in making gestures expressive of an important member of the party who had been especially charged to be on hand in ample time; who had outraged every moral principle by failing to keep his appointment; whose whereabouts could not be even remotely surmised; whose absence was the equivalent of ruin and despair—a far less complex series of concepts, I may add, than a southern Frenchman is capable of expressing with his head and his body and his hands.

It was the pianist.

A grave Majoral, reaching down to the kernel of the matter, solved the difficulty with the question: "Have we the piano?"

"We have."

"Enough!" cried the Majoral. "Let us go."

In a moment the gang-plank was drawn aboard; the lines were cast off; the great paddle-wheels began to turn; the swift current laid hold upon us—and the Gladiateur, slipping away from the bank, headed for the channel-arch of the Pont-du-Midi. The bridge was thronged with our friends of Lyons come down to say good-bye to us. Above the parapet their heads cut sharp against the morning glitter of the sun-bright sky. All together they cheered us as we, also cheering, shot beneath them: and then the bridge, half hidden in the cloud of smoke from our huge funnel, was behind us—and our voyage was begun.

III

Of all the rivers which, being navigable, do serious work in the world the Rhône is the most devil-may-care and light-hearted. In its five hundred mile dash down hill from the Lake of Geneva to the Mediterrænean its only purpose—other than that of doing all the mischief possible—seems to be frolic fun. And yet for more than two thousand years this apparently frivolous, and frequently malevolent, river has been very usefully employed in the service of mankind.

In the misty barbaric ages before history fairly began, and in the early times of the Roman domination, the Rhône was the sole highway into northern Gaul from the Mediterrænean; later, when the Gallic system of Roman roads had been constructed, it held its own fairly well against the two roads which paralleled it—that on the east bank throughout almost its entire length, and that on the west bank from Lyons southward to a point about opposite to the present Montélimar; in the semi-barbarous Middle Ages—when the excitements of travel were increased by the presence of a robber-count at every ford and in every mountain-pass—it became again more important than the parallel highways on land; and in our own day the conditions of Roman times, relatively speaking, are restored once more by steamboats on the river and railways on the lines of the ancient roads. And so, having served these several masters, the Rhône valley of the present day is stored everywhere with remnants of the barbarism, of the civilization, and of the semi-barbarism which successively have been ploughed under its surface before what we have the temerity to call our own civilization began. Keltic flints and pottery underlie Roman ruins; just beneath the soil, or still surviving above it, are remains of Roman magnificence; and on almost all the hill-tops still stand the broken strongholds of the robber nobles who maintained their nobility upon what they were lucky enough to be able to steal. Naturally—those ruined castles, and the still-existent towns of the same period, being so conspicuously in evidence—the flavour of the river is most distinctly Mediæval; but a journey in this region, with eyes open to perceive as well as to see, is a veritable descent into the depths of the ancient past.

Indeed, the Gladiateur had but little more than swung clear from Lyons—around the long curve where the Saône and the Rhône are united and the stream suddenly is doubled in size—than we were carried back to the very dawn of historic times. Before us, stretching away to the eastward, was the broad plain of Saint-Fons—once covered with an oak forest to which Druid priests bearing golden sickles came from the Île Barbe at Yule-tide to gather mistletoe for the great Pagan feast; later, a battle-field where Clodius Albinus and Septimius Severus came to a definite understanding in regard to the rulership of Gaul; later still, the site of a pleasure castle of the Archbishops of Lyons, and of the Villa Longchêne to which light-hearted Lyons' nobles came. Palace and Villa still are there—the one a Dominican school, the other a hospital endowed by the Empress Eugénie: but the oaks and the Druids and the battle are only faint legends now.

I am forced to admit that never a thought was given to that aggregation of antiquities by the too-frivolous passengers aboard the Gladiateur. At the very moment when we were steaming through those Gallo-Roman and Mediæval latitudes there was a burst of music from the piano that fired our light-headed company as a spark fires a mine. The music was the air of "La Coupe," the Félibrien Anthem, and instantly a hundred voices took up the song. When this rite was ended, the music shifted to a livelier key and straightway a farandole was formed. On the whole, a long and narrow steamboat is not an especially good place for a farandole; but the leader of that one—a young person from the Odéon, whose hair came down repeatedly but whose exceptionally high spirits never came down at all—was not one of the sort whom difficulties deter. At the head of the long line of dancers—a living chain held together by clasped hands—she caracoled and curveted up and down the narrow passes of the boat; and after her, also caracoling and curveting, came the chain: that each moment grew in length as volunteers joined it, or (in keeping with farandole customs) as the less vivacious members of the party were seized upon and forcibly impressed into its ranks. And so we farandoled clear away to Givors.

It took the place of a master of ceremonies, our farandole, and acted as an excellent solvent of formalities. Yet even without it there would have been none of the stiffness and reserve which would have chilled a company assembled under like conditions in English-speaking lands. Friendliness and courtesy are characteristics of the French in general; and especially did our American contingent profit by those amiable traits that day on the Rhône. Save for a slight correspondence with a single member of the party, all aboard the boat were strangers to us; but in that kindly atmosphere, before we had time to fancy that we were outsiders, we found ourselves among friends.

Givors slipped by almost unnoticed in the thick of the farandole: a little town hung out to sun in long strips upon terraces rising from the water-side; the walls and tiled roofs making a general effect of warm greys and yellows dashed with the bright greens of shrubs and trees and gardens and the yellow green of vines. 'Tis a town of some commercial pretensions: the gateway of a canal a dozen miles long leading up through the valley of the little river Gier to iron-works and coke-works and glass-works tucked away in the hills. The canal was projected almost a century and a half ago as a connecting channel between the Rhône and the Loire, and so between the Atlantic and the Mediterrænean; wherefore the Canal of the Two Oceans was, and I suppose continues to be, its high-sounding name. But the Revolution came, and the digging never extended beyond that first dozen miles; and thus it is that the Canal of the Two Oceans, as such, is a delusion, and that the golden future which once lay ahead of Givors now lies a long way astern. Yet the town has an easy and contented look: as though it had saved enough from the wreck of its magnificent destiny to leave it still comfortably well to do.

Before we fairly had passed it, and while the farandole was dying out slowly, there crashed down upon us a thunderous outburst of song: as though an exceptionally large-lunged seraph were afloat immediately above us in the open regions of the air. Yet the song was of a gayer sort than seraphs, presumably, are wont to sing; and its method, distinctly, was that of the modern operatic stage. In point of fact, the singer was not a seraph, but an eminent professor in a great institution of learning and a literary authority of the first rank—whose critical summary of French literature is a standard, and whose studies of Beaumarchais and Le Sage have been crowned by the Academy. In sheer joyousness of spirit that eminent personage had betaken himself to the top of the port paddle-box, and thence was suffering his mountain-cleaving voice to go at large: so quickening was the company in which he found himself; so stimulating was the racy fervour of his own Southern sun!

IV

From Givors the river runs almost in a straight line to Vienne. On both shores rise round-crested wooded hills—the foothills of the parallel ranges of mountains by which the wide valley is shut in. Down this perspective, commandingly upon a height, is seen the city—misty and uncertain at first, but growing clearer and clearer, as the boat nears it, until the stone-work of man and the rock-work of nature become distinct and the picture is complete in all its parts: the time-browned mass of houses on the hill-top; the tower of Philip the Fair; over all, the huge façade of Saint Maurice—an ogival wonder that for centuries was the cathedral church of the Primates of Gaul.

After Marseille, Vienne makes as handsome pretensions to age as are made by any town in France. The tradition of its founding lies hidden in the mists of heroic legend, and is the more momentous because it is so impressively vague. Over its very name the etymologists wrangle with such violence that one is lost in amazement at their ill-tempered erudition; and over its structure the archæologists—though a bit more civil to each other—are almost as violently at cross-purposes. The best esteemed of those antiquary gentry—at least the one whom I esteem the most, because I like the fine boldness of his claim—is the Dominican chronicler Lavinius: who says flatly that Vienne was founded thirteen centuries before the dawn of the Christian era by a contemporary of Moses, one King Allobrox—a Keltic sovereign descended from Hercules in a right line! That is a good beginning; and it has the merit of embodying the one fact upon which all of the testy antiquaries are agreed: that Vienne the Strong, as folk called it in those days, was a flourishing town long before Lyons was built or Paris even thought of, and an age or two before the Romans came over into Gaul.

When at last they did come, the Romans transformed the town into a great city—the metropolis of the region lying between Geneva and Marseille; and so adorned it with noble buildings—temples, forum, circus, theatre, aqueducts, baths—and so enriched it with all manner of works of art, that it came to be known as Vienne the Beautiful throughout the civilized world. One temple, approximately perfect, has survived to us from that time; and one statue—the famous Crouching Venus: and it seems fair enough to accept Vienne's beauty as proved by these. Moreover, painting and music were cultivated there, together with the other arts: and from all that the historians have to tell us it would appear that the Roman citizens of that city lived softly and well.

In the dark ages of Mediæval Christianity most of the beauties of Vienne vanished: being destroyed outright, or made over into buildings pertaining to the new faith and the new times. A pathetic little attempt, to be sure, was made by the Viennese to hold fast to their comfortable Paganism—when Valentinian II. was slain, and the old rites were restored, at the end of the fourth century; but it was a mere flash in the pan. The tendencies of the times were too strong to be resisted, and presently the new creed rode down the old. Then it was that Vienne was called Vienne the Holy—because, while losing nothing of her splendours temporal, she gained great store of splendours spiritual: whereof the culmination was that famous Council, at the beginning of the fourteenth century, which crushed the Templars and gave over their possessions to the Crown. While the Council deliberated, Philip the Fair "watched his case," as the lawyers would put it, from the village of Sainte-Colombe—across the river—where he was quartered with his court in the convent of the Cordeliers; and in Sainte-Colombe, the next year, he built the tower that was to safeguard the royal domains against the aggressions of the Archbishops: whose too-notorious holiness was making them overbold.

And nowadays Vienne is a mean little town; a withered kernel in the shell of its former grandeur; a mere sousprefecture; scarcely more than a manufacturing suburb of Lyons. In the tower of Philip the Fair are a cheap restaurant, and a factory of macaroni, and a carpenter-shop. It is enough to make the spirits of the Roman emperors indignant and the bones of the Archbishops rattle dismally in their graves. No longer either strong, or beautiful, or holy, they call it Vienne the Patriotic, now. A city must be something, of course—and patriotism is an attribute that may be had for the claiming, in these days.

But the saving grace of poetry, at least of the love of poetry, still abides in Vienne: as was proved in a manner mightily tickling to our self-complacency as we swept past the town. Taking the place of the stone bridge that was built in Roman times—and so well built that it was kept in service almost down to our own day—a suspension bridge here spans the stream: and the poets and the poet-lovers of Vienne were all a-swarm upon it, their heads and shoulders rising in an animated crenellation above its rail, in waiting for our galley to go by. While we still were a hundred yards away up stream there was a bustling movement among them; and then a bouquet, swinging at the end of a light line, was lowered away swiftly—the bright flowers flashing in the sunlight as they swayed and twirled. Our brethren had calculated to a nicety where our boat would pass. Right over the bow came the bouquet, and fairly into the eager hands stretched out for it—while a great cheer went up from the grateful poets in the boat that was echoed by the generous poets in the air. And the prettiest touch of all was the garland of verses that came to us with the flowers: to bid us welcome and to wish us God-speed on our way. Truly, 'twas a delicately fine bit of poetic courtesy. No troubadour in the days of Vienne the Holy (the holiness was not of an austere variety) could have cast a more graceful tribute upon the passing galley of the debonaire Queen Jeanne.

V

Before Vienne the river cuts its way narrowly through the rock, and on each side the banks lift high above the stream. Far above us was the town, rising in terraces to where was the citadel in the days of Vienne the Strong. We had a flying glimpse of it all as we flashed past, sped by the current and our great wheels; and then the valley widened again, and soft meadows bordered by poplars and gay with yellow flowers lay between us and the mountain ranges rising to right and left against the sky. Here and there along the banks, where an outcrop of rock gave good holding-ground, were anchored floating grist-mills carrying huge water-wheels driven by the current—the wooden walls so browned with age that they seemed to have held over from the times when the archbishops, lording it in Vienne, took tithes of millers' toll.

We were come into a country of corn and wine. The mills certified to the corn; and as we swung around the curves of the river or shot down its reaches we met long lean steamboats fighting against the current under heavy ladings of big-bellied wine-casks—on their genial way northward to moisten thirsty Paris throats. Off on the right bank was the ancient manor of Mont-Lys, where begins the growth of the Côtes-Rôties: the famous red and white wines, called the brune and the blonde, which have been dear to bottle-lovers for nearly two thousand years: from the time when the best of them (such as now go northward to Paris) went southward to the Greek merchants of Marseille and so onward to Rome to be sold for, literally, their weight in gold. And as to the melons and apricots which grow hereabouts, 'tis enough to say that Lyons bereft of them would pine and die.

The softly-swelling banks, capped by the long lines of yellow-green poplars, slipped by us at a gallop; while the mountains in the background, seen through the haze of flickering leaves, seemed to stand still. It was the most peaceful of landscapes: but there was endless fighting thereabouts in former times. In an Early Christian way the archbishops of Vienne ravaged among the Protestants; between whiles the robber-counts, without respect to creed, ravaged among the travelling public with a large-minded impartiality; and, down in the lowest rank of ravagers, the road-agents of the period stole all that their betters left for them to steal. As we passed the little town of Condrieu—where a lonely enthusiast stood up on the bank and waved a flag at us—we saw overtopping it, on a fierce little craggy height, the ruined stronghold of its ancient lords. Already, in the thirty miles or thereabouts that we had come since leaving Lyons, we had passed a half-dozen or more warlike remnants of a like sort; and throughout the run to Avignon they continued at about the rate of one in every five miles.

Singly, the histories of these castles are exceedingly interesting studies in Mediæval barbarism; but collectively they become a wearisomely monotonous accumulation of horrors. Yet it is unfair to blame the lords of the castles for their lack of originality in crime. With the few possible combinations at their command, the Law of Permutation literally compelled them to do the same things over and over again: maintaining or sustaining sieges ending in death with or without quarter for the besieged; leading forays for the sake of plunder, with or without the incentive of revenge; crushing peasant rebellions by hanging such few peasants as escaped the sword; and at all times robbing every unlucky merchant who chanced to come their way. It was a curious twist, that reversion to savagery, from the Roman epoch: when the Rhône Valley was inhabited by a civilized people who encouraged commerce and who had a genuine love for the arts. And, after all—unless they had some sort of pooling arrangement—the robber lords in the mid-region of the Rhône could not have found their business very profitable. Merchants travelling south from Lyons must have been poor booty by the time that they had passed Vienne; and merchants travelling north from Avignon, similarly, must have been well fleeced by the time that they were come to the Pont-Saint-Esprit. Indeed, the lords in the middle of the run doubtless were hard put to it at times to make any sort of a living at all. Nor could the little local stealing that went on have helped them much—since, their respective castles being not more than five miles asunder, each of them in ordinary times was pulled up short in his ravaging at the end of two miles and a half. In brief, the business was overcrowded in all its branches, and badly managed beside. The more that I look into the history of that time the more am I convinced that mediævalism, either as an institution or as an investment, was not a success.

Condrieu is a dead little town now. As a seat of thieving industry its importance disappeared centuries ago; and its importance as a boating town—whence were recruited a large proportion of the Rhône boatmen—vanished in the dawn of the age of steam. They were good fellows, those Condrieu boatmen, renowned for their bravery and their honesty throughout the river's length. Because of their leather-seated breeches they were nicknamed "Leather-tails"; but their more sailor-like distinction was their tattooing: on the fore-arm a flaming heart pierced with an arrow, symbol of their fidelity and love; on the breast a cross and anchor, symbols of their faith and craft. From Roman times downward until railways came, the heavy freighting of central France has been done by boat upon the Rhône—in precisely the same fashion that flat-boat freighting was carried on upon the Mississippi and its tributaries—and three or four of the river towns were peopled mainly by members of the boating guilds. Trinquetaille, the western suburb of Arles, still shows signs of the nautical tastes of its inhabitants in the queer sailor-like exterior and interior adornments of its houses: most noticeable of which is the setting up on a house-top of a good-sized boat full-rigged with mast and sails.

The survivors of the boating period nowadays are few. Five years ago I used to see whenever I crossed to Trinquetaille a little group of old boatmen sitting at the end of the bridge on a long bench that was their especial property. They moved stiffly and slowly; their white heads were bowed breastward; their voices were cracked with age. Yet they seemed to be cheery together, as they basked in the hot sunshine—that warmed only comfortably their lean old bodies—and talked of ancient victories over sand-bars and rapids: and the while looked southward over the broad Rhône water toward the sea. No doubt they held in scorn their few successors—one where of old were a hundred—who navigate the Rhône of to-day, clipped of its perils by dykes and beacons, in boats driven by steam.

Yet these modern mariners, charged with the care of the great steamboats two and three hundred feet long, are more heroic characters than were the greatest of the old-time navigators. The finest sight that I saw in all that day aboard the Gladiateur was our pilot at his post as he swung us around certain of the more dangerous of the curves: where rocks or sand-bars narrowed the channel closely and where a fall in the river-bed more than usually abrupt made the current fiercely strong. In such perilous passes he had behind him in a row at the long tiller—these boats are not steered by a wheel forward, but by a tiller at the stern—two, three, and at one turn four men. He himself, at the extreme end of the tiller, stood firmly posed and a little leaning forward, his body rigid, his face set in resolute lines, his eyes fixedly bent upon the course ahead; behind him the others, elately poised in readiness to swing their whole weight with his on the instant that his tense energy in repose flashed into energy in action as the critical turn was made—the whole group, raised above us on the high quarter-deck, in relief against the deep blue sky. Amy, or another of the Southern sculptors, will be moved some day, I hope, to seize upon that thrilling group and to fasten it forever in enduring bronze.

VI

As we approached the bridge of Serrières it was evident that another demonstration in our honour was imminent. On the bridge a small but energetic crowd was assembled, and we could see a bouquet pendent from a cord descending toward the point where our boat was expected to pass. The projectors of that floral tribute cheered us finely as we came dashing toward them; and up in our bows was great excitement—which suddenly was intensified into anguish as we perceived that our admirers had made a miscalculation: a fateful fact that was anticipated and realized almost in the same instant—as we saw the bouquet level with our deck but forty feet away a-beam! Yet good luck saved the day to us. As we shot the bridge we also rounded a curve, and a moment after the bow of the long Gladiateur had gone wide of the bouquet the stern had swung around beneath it and it was brought safe aboard. In the same breath we had passed under and beyond the bridge and were sending up stream to our benefactors our cheers of thanks.

When the discovery was made that a bottle was enshrined among the flowers, and that upon the bottle was an inscription—necessarily a sonnet, as we impulsively decided—our feeling toward Serrières was of the warmest. Without question, those generous creatures had sent us of their best, and with a posy of verse straight from their honest hearts. Only poets ministering to poets could have conceived so pretty a scheme. But the eager group that surrounded the Majoral who held the bottle flew asunder in wrath as he read out loudly, in place of the expected sonnet, these words: "Quinine prepared by Cuminat at Serrières"! And then our feeling toward Serrières grew much less warm. Yet I am not sure that Cuminat was moved only by the sordid wish to advertise at our expense his preparation of quinine. I am disposed to credit him in part with a helpful desire to check the fever rising in the blood of our boat-load of Southerners who each moment—as they slid down that hill-side of a river—were taking deeper and stronger drafts of the heady sunshine of their own Southern sun. On the other hand, I am forced to admit that had his motive been pure benevolence his offering would not have been so pitiably scant.

But the people of Tournon—to which generous town, and to the breakfast provided by its cordial inhabitants, we came an hour before noon—entreated us with so prodigal a liberality in the matter of bottles that the questionable conduct of the Serrières apothecary quickly faded from our minds. In ancient times Tournon had a black reputation for its evil-dealing with chance wayfarers along the Rhône, and one's blood runs cold with mere thought of the horrors which went on there in the times of the religious wars. But very likely because of an honest desire to live down its own bad record—which I mention here rather to its present credit than to its past shame—it now seems determined to balance matters by manifesting toward passing travellers the most obliging courtesy in the world. Certainly, we poets—coming thither famished, and going thence full fed and sleekly satisfied—had cause that day to bless its name.

As we came galloping around a curve in the river—I cannot insist too strongly upon the dashing impetuosity that was the constant buoyant undertone of our voyage—this Tournon the blessed shot up before us perked out upon a bold little hill thrust forward into the stream: a crowd of heavily-built houses rising around a church or two and a personable campanile, with here and there bits of crenellated ramparts, and higher still the tough remnant of a castle still fit to do service in the wars. Indeed, it all was so good in colour—with its blendings of green and grey shot with warm yellow tones; and its composition was so excellent—with its sweep upward from the river to the castle battlements—that to my American fancy (used rather to Mediæval semblances than to Mediæval realities) it seemed to be temporarily escaped from an exceptionally well-set operatic stage.