Normandy Picturesque Part 6

From the terrace of the Jardin des Plantes, where we are never tired of the view (although some residents complain that it becomes monotonous, because they are too far from the sea to enjoy its variety), the grey mount of St. Michael is ever before us, gleaming in the suns.h.i.+ne or looming through the storm. In our little sketch we have given as accurately as possible its appearance from Avranches on a summer's day after rain;[29] but it should be seen when a storm pa.s.ses over it, when the same clouds that we have watched so often on summer nights, casting deep shadows on the intervening plain--some silver-lined that may have expressed hope, some black as midnight that might mean despair--come over to us like messengers from the great rock, and take our little promontory by storm. They come silently one by one, and gather round and fold over us; then suddenly clap their hands and burst with such a deluge of rain that it seems a matter for wonder that any little creeping human things could survive the flood. And it does us good; we are thoroughly drenched, our houses and gardens do not recover their fair presence for weeks; our little prejudices and foibles are well nigh washed out of us, and we are reminded of the dread reality of the lives of our neighbours on the island, who form a much larger colony than ourselves.[30]

'On no account omit a visit to Mont St. Michael,' say the guide-books, and accordingly we charter a carriage on a summer's morning and are driven in a few hours along a bad road, to the edge of the sands about a mile from the mount--the same sands that we saw depicted in the Bayeux tapestry, when William and Harold marched on Dinan. We choose a favourable time of the tide, and approach the gates at the foot of the mount dryshod.[31]

For a thousand years pilgrims have crossed these treacherous sands to lay their offerings at the feet of the Archangel Michael; Norman dukes and monks of the middle ages have paid their devotion at his shrine, and troops of pilgrims in all ages, even to this day, when a party of English school-girls come tripping across the bay, provided with a pa.s.sport and a fee, bent upon having the terrors of the prison-house shewn to them as easily as the 'chamber of horrors' at Madame Tussaud's.

Before us, as we walk the last mile, the granite rock gradually becomes a mountain surrounded by a wide plain of sand, covered with cl.u.s.tering houses, towers, turrets, and fortifications, and surmounted by a Gothic church nearly 400 feet above the sea. There is a little town upon the rock, old, tumble-down, irregular, and picturesque, like Bastia in Corsica--constructed by a hardy sea-faring people, who have built their dwellings in the sides of this conical rock, like the sea-birds; and there is a little inn called the _Lion d'or_, with windows built out over the ramparts, from which we can see the sh.o.r.e.

On arriving at the island we pa.s.s under two ancient towers, and into 'the court of the Lion;' then to a third gate, with its towers and battlements, and frowning portcullis; and we see, as we pa.s.s, the lion (the insignia of the knights of Mont St. Michael) carved in stone, and set into the wall. We are received in the ancient guard-room by a 'young brother,' who has (shall it be repeated?) 'turned the guard-room into a cheerful bazaar for the sale of photographs, ivory carvings and the like.' We are on the threshold of the sanctuary, at the end of our pilgrimage; we offer up no prayers, as of old, for safe deliverance from peril, but we set to work at once, and 'invest in a pocketful of little presents, which another brother (on business thoughts intent) packs for us neatly in a pasteboard box.' We are shewn the apartments in the 'Tour des Corbins,' with its grand staircase, called 'l'escalier des exils,'

and the crypt one hundred feet long, built by the monks in the eleventh century; we see the great Gothic hall of the Knights of Mont St.

Michael, with its carved stone-work and lofty roof, supported by three rows of pillars, beautiful in proportion, and grand in effect, although the Revolution, as usual, has left us little but the bare walls; but, as we look down upon it from a gallery, it is easy to picture the splendour of a banquet of knights in the twelfth century, with the banners and insignia of chivalry ranged upon the walls.[32] But it is now a silent gloomy chamber, and the atmosphere is so close and the moral atmosphere so heavy withal, that we are glad to leave it, and to ascend to another story of this wonderful pile; through the beautiful Gothic cloisters, and out upon the cathedral roof, where we suddenly emerge upon a view more wonderful in its extent and flatness than anything, save that from the cathedral tower of Chartres; before us an horizon of sea, behind us the coast line, and the hills of Avranches; all around, a wide plain of sand, and northward, in the far distance, the low dark lines of the channel islands.

That 'Saint Michael's Mount has become a popular lion, and can only be seen under the vexatious companions.h.i.+p of a guide and a party' is true enough; nevertheless, we can stay at the inn on the island, and thus be enabled to examine and make drawings of some of the most beautiful thirteenth-century work in the cloisters that we shall meet with in Normandy. These cloisters and open arcades (supported by upwards of two hundred slender pillars) are carved and decorated with grotesque and delicate ornament, the capitals to the pillars are richly foliated, and the fringe that surrounds them has been well described as a 'wilderness of vines and roses, and dragons, winged and crowned.'

Like the churches in Normandy, the architecture of these monastic buildings is in nearly every style, from the simple romanesque of the eleventh century to the rich _flamboyant_ of the fifteenth; and, like many of the churches, its history dates from the time when the Druids took possession of the island to the days when the storm of the Revolution broke upon its sh.o.r.es.

The ordinary time for visiting the rock is when the tide is out, but we have not seen Mont St. Michael to advantage until it is completely surrounded by water, as it is during the spring tides; it is then that, approached from the west, we may see it half-obscured by sea-foam, with its turrets s.h.i.+ning through the clouds, and the heavy Atlantic waves booming against its foundations.

The little fis.h.i.+ng population of Mont St. Michael, and the stories they tell of the dangers of the quicksands, will while away the time in the evening and reward us for staying; and we shall see such an exhibition of hopeless _ennui_ on the part of the French officers in garrison as will not soon be forgotten.

It would require a separate work to describe in detail all the buildings on the rock;[33] (it takes a day to examine the fortifications and dungeons alone); we have therefore only attempted to give the reader an idea of its general aspect; of what M. Nodier, in his '_Annales Romantiques_,' describes as 'l'effet poetique et religieux de la fleche du Mont St. Michael;' and indeed we have hardly dared to picture to ourselves the complete magnificence of the basilica of the Archangel, as mariners who approached these sh.o.r.es must have seen it three hundred years ago, with its lofty towers of sculptured stone; and the image of its patron saint, turning towards the western sun a fiery cross of gold.

CHAPTER VIII.

_MORTAIN--VIRE--FALAISE._

We now turn our faces towards the east, and starting again from Avranches on our homeward journey, go very leisurely by diligence, through Mortain and Vire to Falaise.

The distance from Avranches to Mortain is not more than twenty miles, and takes nearly five hours; but the country is so beautiful, and the air is so fresh and bracing, that a seat in the banquette of the diligence is one of the most enviable in life. The roof is over-loaded with goods and pa.s.sengers, which gives a pleasant swaying motion to the vehicle; but the road is so smooth and even that 'n.o.body cares'--the rocking to and fro is soothing, and sends the driver to sleep, the pieces of string that keep the harness together will hold for another hour or two, and the crazy machine will last our journey at least.

We halt continually on the journey--once, for half-an-hour, literally 'under the lindens'--they are not yet in bloom, but they give out a pleasant perfume into the dreamy air; we are again in the open country, in the atmosphere of old historic Normandy, and bound, slowly it is true, for the birthplace of William the Conqueror; and we can read or sleep at pleasure, as our crazy diligence crawls up and creeps down every hill, and stops at every cottage by the way.

On this beautiful winding road, which is carried along and between, the ridge of hills on which Avranches stands, and commands views westward over the bay to Mont St. Michael and eastward towards Alencon and the plains of Orne, we only meet one or two solitary pedestrians. We are nearly as much alone as in a Swiss pa.s.s; the scenery might be part of the Tete Noire, and the _Hotel de la Poste_, at Mortain, which is built on the side of a hill over a ravine, and at which our diligence makes a dead stop, might, for many reasons, be a posada on the Italian Alps.

If we stroll out at once, before the evening closes, we shall have time to visit the cemetery on the rocks, to see the remains of a castle of the Norman dukes, and above all, the superb panorama from the heights; and we may wander afterwards into the valleys to see the cascades, the ivy-covered rocks, and the ma.s.ses of ferns; scenes so exquisite and varied that we are lost in wonder that all these things are to be seen in France at small trouble and cost, and that French artists have hardly ever told us of them.[34]

That 'the country round Mortain is not known as well as it deserves,' is a remark that cannot be too often repeated; we cannot, indeed, imagine a more delightful district for an English artist in which to spend a summer, and we promise him that he shall find subjects that will look as well on the walls of the Academy as the Welsh hills, or the valleys of Switzerland.

We are at a loss to express in words the romantic beauty of the situation of Mortain, where we may pitch our tent, and make studies of rocks, which will tell us more in practice, than written volumes about these wondrous geological formations; and the cl.u.s.ters of ivy in the niches, the moss and lichen, the rich colour of the boulders, the trees in the valleys below us, the clear sky, and the sweet air that comes across the bay, make us linger here for the beauty of the scene alone; regardless almost of the ancient history of Mortain, of the story of its Pagan temples, of its thirteenth-century church, and almost unmindful of the 'Abbaye de Savigny,' eight miles off, a building which is worthy of a special visit.

And we come away, perforce, in the evening-time from all this lovely landscape, from the pure air, from the cascades, the rocks, and the ferns, from everything agreeable to the senses, to the most literal, shameful, wallowing in the mire. We have spoken, so far, only of the scene; let add a word in very truth, about 'man and his dwelling-place.'

How shall we describe it? We are at the _Hotel de la Poste_, and we are housed like pigs; we (some of us) eat like them, and live even as the lower animals. We--'_Messieurs et Mesdames_,' lords and ladies of the creation--hide our heads in a kennel; our dirty rooms 'give' on to the odorous court-yard; we turn our backs upon the valley which the building almost overhangs; we can neither breathe pure air nor see the bright landscape. Any details of the domestic arrangements and surroundings of the _Hotel de la Poste_ at Mortain would be unfit for these pages; suffice it that, we are in one of the second-rate old-fas.h.i.+oned inns of France, the style of which our travelled forefathers may well remember.[35]

We have more than once been censured for saying that the French people have little natural love for scenery, and a stilted, not to say morbid, theory of landscape; but whilst we stay in this inn, from which we might have had such splendid views, we become confirmed in the opinion (formed in the Pyrenees), that the French people _do not care_, and that they think nothing of defiling Nature's purest places. At this hotel we are in the position of the prisoners confined aloft in the tower at Florence; the hills and valleys are before and around us, but we are not allowed to see them.[36]

On our road to VIRE, twenty-three miles distant, it is tempting to make a digression to the town of Domfront (which the reader will see on the map, a few miles to the south-east); we should do so, to see its picturesque position, with the ancient castle on the heights, and the town, as at Falaise, growing round its feet; also an old church at the foot of the hill, which is considered 'one of the best and purest specimens of Norman work to be found anywhere.'

But the route we have chosen for description, now turns northward, pa.s.sing through a still beautiful land, studded with thatched cottages, and lighted up with the dazzling white helmets of the women who are busy in the fields, and in the farms and homesteads. As we approach the town of Vire, the population has evidently been absorbed into the cloth and paper mills, for, excepting in the morning and the evening, there are very few people abroad; we see scarcely any one, save, at regular intervals on the road, the old cantonniers occupied in their business of making stone-pies,[37] or a village cure at work in his garden; but we notice that the houses are neater and better built than those near Mortain, where gra.s.s grows luxuriantly upon them, and the roofs are covered with coloured mosses.

The situation of Vire is one of extreme beauty (reminding us again of Switzerland), with hills and valleys richly wooded, the trees being larger than any we have yet seen on our route. If we had approached Vire from the west, by way of Villedieu and St. Sever, we should have had even finer views than by way of Mortain; but Villedieu is at present more deplorable than Mortain in its domestic arrangements, and the inn is to be avoided by all cleanly people; however, with the completion of the railway from Vire to Granville, we are promised much better things.

[Ill.u.s.tration: CLOCK TOWER AT VIRE.]

The chief architectural object of interest at Vire is the old clock-tower of the thirteenth century, over the Rue de Calvados, with its high gateway, formerly called 'the gate of the Champ de Vire.'

Over this gateway (which we cannot see from the position where we have sketched the belfry) there is a statue of the Virgin, with the inscription, '_Marie protege la ville_.' This tower has been altered and repaired at several periods, and, like two others near it, is too much built up against and crowded by, what the French call '_maisons vulgaires_,' to be well seen.

We have not spoken of the castle first, because there is little of it left besides the keep; and the part that remains seems no longer old.

The bold promontory on which it stood is now neatly kept and 'tidied'

with smooth slopes, straight walks, and double rows of trees, pleasant to walk upon, but more suggestive of the Bois de Boulogne than the approach to a ruin.

It is from this promontory, or rather from what Murray calls 'this dusty pleasure ground,' that we obtain our best view of the country westward, towards Avranches; and from whence we can see the bold granite formation of the rocks in the neighbourhood. We may see where the manufacturers of cloth and paper have established their mills; and also where, in some cases, they have had to widen out the valleys, and to cut roads through the rocks to their works. All the streams turn waterwheels, and many of the surrounding rocks are disfigured with cloth 'tenters.'

There are some curious half-timbered houses at Vire, and some old streets tempting to sketch; including the house of Ba.s.selin, the famous originator of 'vaux de Vire'--or, as they are now called, _vaudevilles_.

The inhabitants number about 9000, they are for the most part engaged in the manufactories of the place, too busy apparently to modernise either their costume or their dwellings; but the railway is now bringing others to the town who will work these changes for them. Happily for them and for us, the hills are of granite and their sides most precipitous, and the innovators make slow progress in modernisation. At the hotels everyone drinks cider, rather than _vin ordinaire_; and at night we are awoke with the clatter of sabots and the voice of the watchman.

The ancient town of FALAISE, to which so many Englishmen make a pilgrimage, as being the reputed birthplace of William the Conqueror, can now be reached, either from Caen, Vire, or Paris, by railway; but we who come from the west, will do well to keep to the old road; and (if we wish to preserve within us any of the a.s.sociations connected with the place) should not have the sound of '_Falaise_' first rung in our ears by railway porters. Both the town and castle of Falaise are situated on high ground; and the latter, being on the side of a precipitous eminence, may be seen for a long distance before we approach it by the road. At Falaise, as at Lisieux, the traveller who arrives in the town by railway, is generally surprised and disappointed, at first sight, with its modern aspect.

'The castle of Falaise,' says M. Leduc, 'consists of a large square Norman keep of the tenth and eleventh centuries, standing at the steepest and highest part of a rocky eminence, with a lofty and exceedingly fine _circular_ tower, connected with it on the south-west by a pa.s.sage; and round the whole, a long irregular line of outer wall following the sinuosities of the hill, fortified by circular towers and enclosing various detached buildings used by the garrison. This line of outer wall and the circular tower is of much later date than the keep, and the greater portion of them is not older than the fourteenth or fifteenth century, when the castle had to withstand attacks from the English. In the keep (it is said) William the Conqueror was born, and they pretend to show the remains of the very room where this event took place, as well as the identical window from which his father "Duke Robert the Magnificent," first saw Arlette, the daughter of the Falaise tanner.'

Here, under the shadow of 'Talbot's tower,' we might prefer to muse historically, and gather up our memories of facts connected with the place; but we are treading again upon 'the footsteps of the Conqueror,'

and must pay for our indiscretion. From the moment we approach the precincts of the castle, we are pounced upon by the inevitable spider (in this instance, in the shape of a very rough and ignorant custodian) who is in hiding to receive his prey. Before we have time for remonstrance, we have paid our money, we have ascended the smooth round tower (one hundred feet high, with walls fifteen feet thick) by a winding staircase, we have been taken out on to the modern zinc-covered roof, and shown the view therefrom; and the spots where the various sieges and battles took place, including the breach made by Henry IV.

after seven days' cannonade, a breach that two or three shots from an Armstrong gun would have effected in these days.

We are shewn, of course, 'the room where William the Conqueror was born,' and from the windows of the castle keep we have just time to make a sketch of the beautiful Val d'Ante,[38] and of the women, with their curiously-shaped baskets, was.h.i.+ng in the stream; and to listen to the thrice-told tale of the tanner's daughter, and to the deeds of valour wrought on these heights--when the performance is declared to be over, and we find ourselves once more on the ramparts outside the castle.

We are so full of historical a.s.sociations at Falaise--every nook and corner of the castle telling of its nine sieges--that we are glad to be able to examine the building thoroughly from without, and to remind ourselves of the method of defensive warfare in the fifteenth century.

The whole of the precincts of the castle, the walls, ramparts, and the princ.i.p.al towers, are (at the time we write, August, 1869) strewn with mason's work, as if a new castle of Falaise were being built; everything looks fresh and new, it is only here and there we discover anything old, the remnants of a carved window, and the like. But, as a Frenchman observed to us, if it had not been for all this nineteenth-century work, the present generation would never have seen the castle of Falaise. The work of restoration appears to be carried on in rather a different spirit from the ecclesiastical restorations at Caen and Bayeux; here the prevailing idea seems to be, 'prop up your antique _any how_' (with timber beams, and a zinc roof to Talbot's tower, such as we might put over a cistern), so long as devotees will come and wors.h.i.+p, with francs, at the shrine; whilst at Bayeux, as we have seen, the old work is handled with reverence and fear, and the nineteenth-century mason puts out all his power to imitate, if not to excel, the work of the twelfth.

The churches at Falaise should not pa.s.s unnoticed; but we will not weary the reader with any detailed description. Artists will especially delight in the view of a fourteenth-century church close to the castle, with its chancel with creepers growing over it, and peeping out between the stones; and historians will be interested in the laconic inscription on its walls, 'rebuilt in 1438, a year of war, death, plague, and famine.' If such artists as Brewer, or Burgess, would only come here and give us drawings of these streets (of one especially, taking in the cathedral at the end, with its stone walls built over by shops, as at Pont Audemer), they would be very interesting to Englishmen. Antiquaries will regret to learn that in the year 1869, the west end of a church is obliterated, as in the next ill.u.s.tration; that the shop of one 'M.

Guille, peruquier,' reposes against the window, and that two other, quite modern, buildings lean against its walls. An old Norman arch is carved immediately above the window we have sketched, and completes the picture.

[Ill.u.s.tration]

It is, of course, not very easy to sketch undisturbed in the streets of Falaise; and both in the churches and in the castle the showman is perpetually treading on the traveller's heels. Everywhere we turn, in the neighbourhood of the castle, we are reminded of historic deeds of valour, and of deadly fights in the middle ages; and every day that we remain in the town, we are reminded (by the crowds of farmers, horsedealers, and others, who are busy at the great fair held here twice a year) of our own, by comparison, very trifling business at Falaise. We are making a drawing of the great rocks near the castle, and of the valley below, every step of which is made famous by the memory of the Conqueror; when our studies are disturbed, not by tourists but by natives of the town; once by a farmer to see his good horses, which indeed he had, at the stables at the 'hotel of the beautiful Star,'

where there were at least fifty standing for sale; and once, by a small boy, who carries a tray full of little yellow books called '_La Lanterne de Falaise_,' with a picture on the cover of the castle tower, and a huge lantern slung from the battlements! We purchase a copy, to get rid of the last intruder, and find it to be a '_Revue, satirique et humouristique_,' treating of divers matters, including '_faits atroces et chiens perdus_'!

Now without being accused of misanthropy, we may remark that there are times and places when an Englishman would rather be 'let alone,' and that the precincts of Falaise are certainly of them. These century-wide contrasts and concussions, jar so terribly sometimes, that we are half-inclined to ask with M. de Tocqueville, whether we do not seem to be on the eve of a new Byzantine era, in which 'little men shall discuss and ape the deeds which great men did in their forefathers' days.'[39]

The refrain in this nineteenth century is, 'still the showman, still the spectator,' until we become almost tired of the song. 'Here some n.o.ble act was achieved--there some valiant man perished.' Every nook and corner of the place tells the same story; until we are tempted to enquire 'What are _we_ doing (or are fit and capable of doing personally, on an emergency, in the matter of fighting,) to compare with the achievements of these Norman men of all ranks of life?'

But not only in Normandy, it is the same wherever we go: as far as our own personal part in heroic actions is concerned, we live in an atmosphere of unreality; we read of great deeds rather than achieve them, we make shows of the works of our ancestors, we take pence (readily) over the graves of our kinsmen, and live, as it seems to us, rather unworthily, in the past.

With our nineteenth-century inventions, we could, it is true, mow down these castle heights in half an hour, and we might well be proud of the achievement as a nation; but our warfare is at best but poor mercenary work, the heart of the nation--the life and courage of its people--are not in it.[40] We civilians, are too much protected, and most of us do not know how to fight. Like the Athenians, we are supposed to be cultivating the arts of peace, but, as we endeavoured to show at Caen, if judged by our monuments, we are making no great mark in our generation. Perhaps this is a question rather wide of our subject, but let us at least contend for one thing, viz.:--that if the mission of the present generation is not to wield battle-axes, but rather to fight social battles, say for the amelioration of the unhappy part of the population; and if it is our fortune to be protected the while, by a staff of policemen, and by strong laws against crime--that we should not neglect, at the same time, to cultivate and preserve the personal valour that is in us, by the use of arms. It may be that the day is shortly coming (our engineers predict that we shall soon have hand-to-hand fighting again), when every individual amongst us will have to put his courage to the proof; and if this should ever happen, it will certainly not diminish our interest in the construction and arrangement of these mediaeval castles, or in the battles that have been fought beneath their walls.