One instance more I give of the small annoyances to which the French residents of Mulhouse are subject, a trifling one, yet sufficient to irritate. Eight months after the annexation, orders were sent round to the pastors and clergy generally to offer up prayers for the Emperor William every Sunday. The order was obeyed, for refusal would have been assuredly followed by dismissal, but the prayer is ungraciously performed. The French pastors invoke the blessing of Heaven on "l'Empereur qui nous gouverne". The pastors who perform the service in German, pray not for "our Emperor," as is the apparently loyal fashion in the Fatherland, but for "the Emperor." These things are trifling grievances, but, on the other hand, the Prussians have theirs also. Not even the officials of highest rank are received into any kind of society whatever. Mulhouse possesses a charming zoological garden, free to subscribers only, who have to be balloted for. Twenty years after the annexation not a single Prussian has ever been able to obtain access to this garden.

Even the very poorest contrive to show their intense patriotism. It is the rule of the German government to give twenty-five marks to any poor woman giving birth to twins. The wife of a French workman during my sojourn at Mulhouse had three sons at a birth, but though in very poor circumstances, refused to claim the donation. "My sons shall never be Prussian," she said, "and that gift would make them so."

The real thorn in the flesh of the annexed Alsatians is, however, as I have before pointed out, military service, and the enforced German education. All who have read Alphonse Daudet's charming little story, La dernire leon de Franais, will be able to realize the painfulness of the truth, somewhat rudely brought home to French parents. Their children must henceforth receive a German education, or none at all, for this is what the law amounts to in the great majority of cases. Rich people, of course, and those who are only well-to-do, can send their sons to the Lyce, opened at Belfort since the annexation, but the rest have to submit, or, by dint of great sacrifice, obtain private French teaching. And, whilst even Alsatians are quite ready to render justice to the forbearance and tact often shown by officials, an inquisitorial and prying system is pursued, as vexatious to the patriotic as enforced vaccination to the Peculiar People or school attendance to the poor. One lady was visited at seven o'clock in the morning by the functionary charged with the unpleasant mission of finding out where her boy was educated. "Tell those who sent you," said the indignant mother, "that my son shall never belong to you. We will give up our home, our prospects, everything; but our children shall never be Prussians." True enough, the family have since emigrated. No one who has not stayed in Alsace among Alsatians can realize the intense clinging to France among the people, nor the sacrifices made to retain their nationality. And it is well the true state of feeling throughout the annexed territory should be known outside its limits. With a considerable knowledge of French life and character, I confess I went to Mulhouse little prepared to find there a ferment of feeling which years have not sufficed to calm down.



"Nous ne sommes pas heureux Mulhouse" were almost the first words addressed to me by that veteran patriot and true philanthropist, Jean Dollfus.

And how could it be otherwise? M. Dollfus, as well as other representatives of the French subjects of Prussia in the Reichstag, had protested against the annexation of Alsace in vain. They pointed out the heavy cost to the German empire of these provinces, in consequence of the vast military force required to maintain them, the undying bitterness aroused, the moral, intellectual, and material interests at stake. I use the word intellectual advisedly, for, amongst other instances in point, I was assured that the book trade in Mulhouse had greatly declined since the annexation. The student class has diminished, many reading people have gone, and those who remain feel too uncertain about the future to accumulate libraries. Moreover, the ordeal that all have gone through has depressed intellectual as well as social life. Mulhouse has been too much saddened to recover herself as yet, although eminently a literary place, and a sociable one in the old happy French days. The balls, soires and reunions, that formerly made Mulhouse one of the friendliest as well as the busiest towns in the world, have almost ceased. People take their pleasures very soberly.

It is hardly possible to write of Mulhouse without consecrating a page or two to M. Jean Dollfus, a name already familiar to some English readers. The career of such a man forms part of contemporary history, and for sixty years the great cotton-printer of Mulhouse, the indefatigable philanthropist—the fellow-worker with Cobden, Arles-Dufour, and others in the cause of Free Trade—and the ardent patriot, had been before the world.

The year before my visit was celebrated, with a splendour that would be ridiculed in a novel, the diamond wedding of the head of the numerous house of Dollfus, the silver and the golden having been already kept in due form.

Mulhouse might well be proud of such a fte, for it was unique, and the first gala-day since the annexation. When M. Dollfus looked out of his window in the morning, he found the familiar street transformed as if by magic into a bright green avenue abundantly adorned with flowers. The change had been effected in the night by means of young fir-trees transplanted from the forest. The day was kept as a general holiday. From an early hour the improvised avenue was thronged with visitors of all ranks bearing cards, letters of congratulation or flowers. The great Dollfus works were closed, and the five thousand workmen with their wives, children and superannuated parents, were not only feasted but enriched. After the banquet every man, woman and child received a present in money, the oldest and those who had remained longest in the employ of M. Dollfus being presented with forty francs. But the crowning sight of the day was the board spread for the Dollfus family and the gathering of the clan, as it may indeed be called. There was the head of the house, firm as a rock still, in spite of his eighty-two years; beside him the partner of sixty of those years, his devoted wife; next according to age, their numerous sons and daughters, sons-in-law and daughters-in-law; duly following came the grandsons and grand-daughters, then the great-grandsons and great-granddaughters, and lastly, the babies of their fifth generation, all accompanied by their nurses in the picturesque costume of Alsace and Lorraine. This patriarchal assemblage numbered between one and two hundred guests. On the table were represented, in the artistic confectionery for which Mulhouse is famous, some of the leading events of M. Dollfus's busy life. Here in sugar was a model of the achievement which will ever do honour to the name of Jean Dollfus, namely, the cits ouvrires, and what was no less a triumph of the confectioner's skill, a group representing the romantic ride of M. and Mme. Dollfus on camels towards the Algerian Sahara when visiting the African colony some twenty years before.

This patriarchal festival is said to have cost M. Dollfus half a million of francs, a bagatelle in a career devoted to giving! The bare conception of what this good man has bestowed takes one's breath away! Not that he was alone; never was a city more prolific of generous men than Mulhouse, but Jean Dollfus, "Le Pre Jean," as he is called, stood at the head. He received with one hand to bestow with the other, and not only on behalf of the national, intellectual and spiritual wants of his own workmen and his own community—the Dollfus family are Protestant—but indiscriminately benefiting Protestant, Catholic, Jew; founding schools, hospitals, libraries, refuges, churches, for all.

We see at a glance after what fashion the great manufacturers set to work here to solve the problem before them. The life of ease and the life of toil are seen side by side, and all the brighter influences of the one brought to bear on the other. The tall factory chimneys are unsightly here as elsewhere, and nothing can be uglier than the steam tramways, noisily running through the streets. But close to the factories and workshops are the cheerful villas and gardens of their owners, whilst near at hand the workmen's dwellings offer an exterior equally attractive. These cits ouvrires form indeed a suburb in themselves, and a very pleasant suburb too. Many middle-class families in England might be glad to own such a home, a semi-detached cottage or villa standing in a pretty garden with flowers and trees and plots of turf. Some of the cottages are models of trimness and taste, others of course are less well kept, a few have a neglected appearance. The general aspect, however, is one of thrift and prosperity, and it must be borne in mind that each dwelling and plot of ground are the property of the owner, gradually acquired by him out of his earnings, thanks to the initiative of M. Dollfus and his fellow-workers. "It is by such means as these that we have combated Socialism," said M. Dollfus to me; and the gradual transformation of the workman into an owner of property, is but one of the numerous efforts made at Mulhouse to lighten, in so far as is practicable, the burden of toil.

These pleasant avenues are very animated on Sundays, especially when a universal christening of babies is going on. The workmen at Mulhouse are paid once a fortnight, in some cases monthly, and it is usually after pay-day that such celebrations occur. We saw one Sunday afternoon quite a procession of carriages returning from the church to the cit ouvrire, for upon these occasions nobody goes on foot. There were certainly a dozen christening parties, all well dressed, and the babies in the finest white muslin and embroidery. A very large proportion of the artisans here are Catholics, and as one instance among others of the liberality prevailing here, I mention that one of the latest donations of M. Dollfus is the piece of ground, close to the cit ouvrire, on which now stands the new, florid Catholic church.

There are free libraries for all, and a very handsome museum has been opened within the last few years, containing some fine modern French pictures, all gifts of the Dollfrees, Engels, and Kchlins, to their native town. The museum, like everything else at Mulhouse, is as French as French can be, no German element visible anywhere. Conspicuous among the pictures are portraits of Thiers and Gambetta, and a fine subject of De Neuville, representing one of those desperate battle-scenes of 1870-71 that still have such a painful hold on the minds of French people. It was withheld for some time, and had only been recently exhibited. The bombardment of Strasburg is also a popular subject in Mulhouse.

I have mentioned the flower-gardens of the city, but the real pleasure-ground of both rich and poor lies outside the suburbs, and a charming one it is, and full of animation on Sundays. This is the Tannenwald, a fine bit of forest on high ground above the vineyards and suburban gardens of the richer citizens. A garden is a necessity of existence here, and all who are without one in the town hire or purchase a plot of suburban ground. Here is also the beautiful subscription garden I have before alluded to, with fine views over the Rhine valley and the Black Forest.

Nor is Mulhouse without its excursions. Colmar and the romantic site of Notre Dame des Trois pis may be visited in a day. Then there is Thann, with its perfect Gothic church, a veritable cathedral in miniature, and the charming, prosperous valley of Wesserling. From Thann the ascent of the Ballon d'Alsace may be made, but the place itself must on no account be missed. No more exquisite church in the region, and most beautifully is it placed amid sloping green hills! It may be said to consist of nave and apse only. There are but two lateral, chapels, evidently of a later period than the rest of the building. The interior is of great beauty, and no less so the faade and side porch, both very richly decorated. One's first feeling is of amazement to find such a church in such a place; but this dingy, sleepy little town was once of some importance and still does a good deal of trade. There is a very large Jewish community here, as in many other towns of Alsace. Whether they deserve their unpopularity is a painful question not lightly to be taken up.



Leisurely travellers bound homeward from Mulhouse will do well to diverge from the direct Paris line and join it at Dijon, by way of Belfort—the heroic city of Belfort, with its colossal lion, hewn out of the solid rock—the little Protestant town of Montbliard, and Besanon. Belfort is well worth seeing, and the "Territoire de Belfort" is to all intents and purposes a new department, formed from that remnant of the Haut Rhin saved to France after the war of 1870-71. The "Territoire de Belfort" comprises upwards of sixty thousand hectares, and a population, chiefly industrial, of nearly seventy thousand inhabitants, spread over many communes and hamlets. There is a picturesque and romantic bit of country between Montbliard and Besanon, well worth seeing, if only from the railway windows. But the tourist who wants to make no friendly calls on the way, whose chief aim is to get over the ground quickly, must avoid the dtour by all means, as the trains are slow and the stoppages many.



V

THE 'MARVELLOUS BOY' OF ALSACE

I

It is especially at Strasburg that travellers are reminded of another "marvellous boy," who, if he did not "perish in his pride," certainly shortened his days by overreaching ambition and the brooding bitterness waiting upon shattered hopes.

Gustave Dor was born and reared under the shadow of Strasburg Cathedral. The majestic spire, a world in itself, became indeed a world to this imaginative prodigy. He may be said to have learned the minster of minsters by heart, as before him Victor Hugo had familiarized himself with Notre Dame. The unbreeched artist of four summers never tired of scrutinizing the statues, monsters, gargoyles and other outer ornamentations, while the story of the pious architect Erwin and of his inspirer, Sabine, was equally dear. Never did genius more clearly exhibit the influence of early environment. True child of Alsace, he revelled in local folklore and legend. The eerie and the fantastic had the same fascination for him as sacred story, and the lives of the saints, gnomes, elves, werewolves and sorcerers bewitched no less than martyrs, miracle-workers and angels.

His play-hours would be spent within the precincts of the cathedral, whilst the long winter evenings were beguiled with fairy-tales and fables, his mother and nurse reading or reciting these, their little listener being always busy with pen or pencil. Something much more than mere precocity is shown in these almost infantine sketches. Exorbitant fancy is here much less striking than sureness of touch, outlined figures drawn between the age of five and ten displaying remarkable precision and point, each line of the silhouette telling. At six he celebrated his first school prize with an illustrated letter, two portraits and a mannikin surmounting the text.

[Footnote: See his life by Blanch Roosevelt, Sampson Low & Co. 1885; also the French translation of the same, 1886.]

His groups of peasants and portraits, made three or four years later, possess almost a Rembrandt strength, unfortunately passion for the grotesque and the fanciful often lending a touch of caricature. Downright ugliness must have had an especial charm for the future illustrator of the Inferno, his unconscious models sketched by the way being uncomely as the immortal Pickwick and his fellows of Phiz. A devotee of Gothic art, he reproduced the medival monstrosities adorning cornice and pinnacle in human types. Equally devoted to nature out of doors, the same taste predominated. What he loved and sought was ever the savage, the legend-haunted, the ghoulish, seats and ambuscades of kelpie, hobgoblin, brownie and their kind.



From the nursery upwards, if the term can be applied to French children, his life was a succession of artistic abnormalities and tours de force. The bantling in petticoats who could astound his elders with wonderfully accurate silhouettes, continued to surprise them in other ways. His memory was no less amazing than his draughtsmanship. When seven years of age, he was taken to the opera and witnessed Robert le Diable. On returning home he accurately narrated every scene.

At eight he broke his right arm, but became as if by magic ambidextrous, whilst confined to bed, cheerily drawing all day long with the left hand. At ten he witnessed a grand public ceremony. In 1840 Strasburg celebrated the inauguration of a monument to Gutenberg, the festival being one of extraordinary splendour. Fifteen cars represented the industrial corporations of the city, each symbolically adorned, and in each riding figures suitably travestied and occupied, men, women and children wearing the costumes of the period represented. Among the corporations figured the Peintres-verriers, or painters on stained glass, their car proving especially attractive to one small looker-on.

Intoxicated by the colour and movement of the fte, garlanded and beflagged streets, the symbolic carriages, the bands, civic and military, and the prevailing enthusiasm, the child determined to get up an apotheosis of his own: in other words, to repeat the performance on a smaller scale. Which he did. Cars, costumes, banners and decorations were all designed by this imp of ten. With the approval of his professors and the collaboration of his school-fellows, the Dor procession, consisting of four highly decorated cars, drawn by boys, defiled before the college authorities and made the round of the cathedral, the youthful impresario at its head. The car of the painters on glass was conspicuously elaborate, a star copied from a Cathedral window showing the superscription, G. Dor, fecit. Small wonder is it that the adoring mother of an equally adoring son should have believed in him from the first, and seen in these beginnings the dawn of genius, the advent, indeed, of a second Michael Angelo or Titian.

The more practical father might chide such overreaching vaticinations, might reiterate—

"Do not fill the boy's head with nonsense."

The answer would be—

"I know it. Our son is a genius."

And Dor pre gave way, under circumstances curious enough.

II

In 1847 the family visited Paris, there to Gustave's delight spending four months. Loitering one day in the neighbourhood of the Bourse, his eye lighted upon comic papers with cuts published by MM. Auber and Philipon. Their shop windows were full of caricatures, and after a long and intent gaze the boy returned home, in two or three days presenting himself before the proprietors with half-a-dozen drawings much in the style of those witnessed. The benevolent but businesslike M. Philipon examined the sketches attentively, put several questions to his young visitor, and, finding that the step had been taken surreptitiously, immediately sat down and wrote to M. and Mme. Dor. He urged them with all the inducements he could command to allow their son the free choice of a career, assuring them of his future.

A few days later an agreement was signed by father and publisher to this effect: During three years the latter was to receive upon certain terms a weekly cartoon from the sixteen-year-old artist, who, on his side, bound himself to offer no sketches elsewhere.

[Footnote: This document was reproduced in Le Figaro of December 4, 1848.]

Meanwhile, Gustave would pursue his studies at the Lyce Charlemagne, his patron promising to look after his health and well-being. The arrangement answered, and in Le Journal pour rire the weekly caricature signed by Dor soon noised his fame abroad. Ugly, even hideous, as were many of these caricatures, they did double duty, paying the lad's school expenses, and paving the way to better things. Of caricature Dor soon tired, and after this early period never returned to it. Is it any wonder that facile success and excessive laudation should turn the stripling's head? Professionally, if not artistically speaking, Dor passed straight from child to man; in one sense of the word he had no boyhood, the term tyro remained inapplicable. This undersized, fragile lad, looking years younger than he really was, soon found himself on what must have appeared a pinnacle of fame and fortune.

Shortly after his agreement with Philipon, his father died, and Mme. Dor with her family removed to Paris, settling in a picturesque and historic htel of the Rue St. Dominique. Here Dor lived for the rest of his too short life.

The house had belonged to the family of Saint Simon, that terrible observer under whose gaze even Louis XIV. is said to have quailed. So aver historians of the period. The associations of his home immediately quickened Dor's inventive faculties. He at once set to work and organized a brilliant set of tableaux vivants, illustrating scenes from the immortal Mmoires. The undertaking proved a great social success, and henceforth we hear of galas, soires, theatricals and other entertainments increasing in splendour with the young artist's vogue—and means.

The history of the next twenty years reads like a page from the Arabian Nights. Although dazzling is the record from first to last, and despite the millions of francs earned during those two decades, the artist's ambition was never satisfied. We are always conscious of bitterness and disillusion. As an illustrator, no longer of cheap comic papers but of literary masterpieces brought out in costly fashion, Dor reached the first rank at twenty, his Rabelais setting the seal on his renown. So immense was the success of this truly colossal undertaking and of its successors, the Don Quixote, the Contes de fes of Perrault and the rest, that he meditated nothing less than the illustration of cosmopolitan chefs 'd' oeuvre, en bloc, a series which should include every great imaginative work of the Western world! Thus in 1855 we find him noting the following projects, to be carried out in ten years' time:—illustrations of schylus, Lucan, Ovid, Shakespeare, Goethe (Faust), Lamartine (Mditations), Racine, Corneille, Schiller, Boccaccio, Montaigne, Plutarch's Lives—these names among others. The jottings in question were written for a friend who had undertaken to write the artist's biography.

The Rabelais, Don Quixote, The Inferno, and several more of these sumptuous volumes were brought out in England. Forty years ago Dor's bold and richly imaginative work was in great favour here; indeed, throughout his life he was much more appreciated by ourselves than by his countrymen. All the drawings were done straight upon wood. Lavish in daily life, generous of the generous, Dor showed the same lavishness in his procedure. Some curious particulars are given upon this head. Fabulous sums were spent upon his blocks, even small ones costing as much as four pounds apiece. He must always have the very best wood, no matter the cost, and it was only the whitest, smoothest and glossiest boxwood that satisfied him. Enormous sums were spent upon this material, and to his honour be it recorded, that no matter the destination of a block, the same cost, thought and minute manipulation were expended upon a trifling commission as upon one involving thousands of pounds. The penny paper was treated precisely the same as the volume to be brought out at two guineas. In the zenith of his fame as an illustrator, at a time when tip-top authors and editors were all clamouring for his drawings, he did not despise humbler admirers and clients. His delight in his work was only equalled by quite abnormal physical and mental powers. Sleep, food, fresh air, everything was forgotten in the engrossment of work. At this time he would often give himself three hours of sleep only.

Dor's ambition—rather, one of his ambitions—was to perfect wood engraving as an art, hence his indifference to the cost of production. Hence, doubtless, his persistence in drawing on wood without preliminary sketch or copy.

Perhaps such obsession was natural. How could he foresee the variety of new methods that were so soon to transform book illustration? Anyhow, herein partly lies the explanation of the following notice in a second-hand book catalogue, 1911—

"No. 355. Gustave Dor: Dante's Inferno, with 76 full-page illustrations by Dor. 4to, gilt top, binding soiled, but otherwise good copy. 42s. for 3s. 6d. London, n.d."

A leading London publisher consulted by me on the subject, writes as follows—

"Dor's works are no longer in vogue. One of the reasons lies in the fact that his pictures were done by the old engraved process. He drew them straight on wood, and there are, accordingly, no original drawings to be reproduced by modern methods."

The words "fatal facility" cannot be applied to so consummate a draughtsman as the illustrator of Dante, Cervantes and Victor Hugo. But Dor's almost superhuman memory was no less of a pitfall than manual dexterity. The following story will partly explain his dislike of facsimile and duplication.

An intimate friend, named Bourdelin, relates how one day during the siege of Paris, the pair found themselves by the Courbevoie bridge. One side of this bridge was guarded by French gendarmes, the other by German officers, Prussians, Saxons, Bavarians, a dozen in all. For a quarter of an hour the two Frenchmen lingered, Dor intently gazing on the group opposite. On returning home some hours later he produced a sketch-book and in Bourdelin's presence swiftly outlined the twelve figures, exactly reproducing not only physiognomic divergences but every detail of costume! Poor Dor! In those ardently patriotic days he entirely relied upon victory and drew an anticipatory picture of France triumphant, entitled, "Le Passage du Rhin." But the French never crossed the Rhine, and the drawing was given to this friend with the words: "My sketch has no longer any raison d'tre. Keep it in memory of our fallacious hopes."

III

In an evil hour for his peace of mind and his fame, Dor decided to leave illustration and become a historic painter. He evidently regarded genius as a Pandora's gift, an all-embracing finality, an endowment that could neither be worsened nor bettered, being complete in itself.

A reader of Ariosto, he had not taken to heart one of his most memorable verses, those mellifluous lines in which the poet dwells upon the laboriousness of intellectual achievement. Nor when illustrating the Arabian Nights had the wonderful story of Hasan of El-Basrah evidently brought home to him the same moral.

Between a Dor and his object—so he deemed—existed neither "seven valleys nor seven seas, nor seven mountains of vast magnitude." A Dor needed no assistance of the flying Jinn and the wandering stars on his way, no flying horse, "which when he went along flew, and when he flew the dust overtook him not."

Without the equipment of training, without recognition of such a handicap, he entered upon his new career.

In 1854 for the first time two pictures signed by Dor appeared on the walls of the Salon. But the canvases passed unnoticed. The Parisians would not take the would-be painter seriously, and the following year's experience proved hardly less disheartening. Of four pictures sent in, three were accepted, one of these being a historic subject, the other two being landscapes. The first, "La Bataille de l'Alma," evoked considerable criticism. The rural scenes were hung, as Edmond About expressed it, so high as to need a telescope.

Both About and Th. Gautier believed in their friend's newly-developed talent, but art-critics and the public held aloof. No medal was decreed by the jury, and, accustomed as he had been to triumph after triumph, his fondest hopes for the second time deceived, Dor grew bitter and acrimonious. That his failure had anything to do with the real question at issue, namely, his genius as a historic painter, he would never for a moment admit. Jealousy, cabals, prejudice only were accountable.

The half dozen years following were divided between delightfully gay and varied sociabilities, feverishly prolonged working hours and foreign travel. The millions of francs earned by his illustrations gave him everything he wanted but one, that one, in his eyes, worth all the rest.

Travel, a splendid studio, largesses—he was generosity itself—all these were within his reach. The craved-for renown remained ungraspable.

Even visits to his favourite resort, Barr, brought disenchantment. He found old acquaintances and the country folks generally wanting in appreciation. With greater and lesser men, he subacidly said to himself that a man was no prophet in his own country.

Ten years after the fiasco of his first canvases in the Salon came an invitation to England and the alluring project of a Dor gallery. The Dor Bible and Tennyson, with other works, had paved the way for a right royal reception. The streets of London, as he could well believe, were paved with gold. But many were the contra. "I feel the presentiment," he wrote to a friend, "that if I betake myself to England, I shall break with my own country and lose prestige and influence in France. I cannot exist without my friends, my habits and my pot-au-feu. Folks tell me that England is a land of fogs, that the sun never shines there, that the inhabitants are cold, and that I should most likely suffer from sea-sickness in crossing the Manche. To sum up, England is a long way off, and I have a great mind to give up the project."

Friendly persuasion, self-interest, wounded self-love carried the day. Reluctantly he decided upon the redoubtable sea-voyage. Whether he suffered from sea-sickness or no we are not told. In any case the visit was repeated, John Bull according the great Alsatian, as he was called, what France had so persistently withheld.

Dor was here accorded the first rank among historic painters. His gallery in Bond Street became one of the London sights; in fashionable society, if not in the close ring of the great Victorian artists, he made a leading figure. Royalty patronized and welcomed him. The Queen bought one of his pictures ("Le Psalterion," now at Windsor), and invited him to Balmoral. The heir-apparent, the late King, admired his talent and relished his society. By the clerical world he was especially esteemed, being looked upon as a second Leonardo da Vinci. And, in fine, Dor must be regarded as an anticipator of the Entente cordiale. "Gustave Dor," his compatriots would say, "he is half an Englishman!" Forty years ago our popular favourite might indeed have believed in the fulfilment of his dream. The Thorwaldsen Gallery of Copenhagen had ever dazzled his imagination. Bond Street was not Paris, certainly, but in the greatest metropolis of the world his memory would be for ever perpetuated. Turning to the dithyrambic utterances of the London Press at the time we can hardly wonder at the hallucination.

Here are one or two passages culled from leading dailies and weeklies—

"In gravity and magnitude of purpose, no less than in the scope and power of his imagination, he towers like a Colossus among his contemporaries. Compared with such a work as 'Christ leaving the Prtorium,' the pictures in Burlington House look like the production of a race of dwarfs whose mental faculties are as diminutive as their stature. And it is not alone the efforts of the English School of Painting that appear puny in presence of so great and gigantic an undertaking; the work of all the existing schools of Europe sinks into equal insignificance, and we must go back to the Italian painters of the sixteenth century to find a picture worthy of being classed with this latest and most stupendous achievement of the great French master."

Elsewhere we read—

"The most marvellous picture of the present age is to be seen at 35, New Bond Street. The subject is 'Christ leaving the Prtorium,' The painter is the world-renowned Gustave Dor."

A journal devoted to art-criticism wrote—

"In 'The Christian Martyrs' we have a striking, thrilling and ennobling picture."

And so on, and so on. Yet at this time among "the dwarfs" of Burlington House then exhibiting was Millais, and contemporaneously with Dor in our midst, 1870-1, was Daubigny, whose tiniest canvases now fetch their thousands!

It was during Dor's apogee in England that a well-known French amateur, also visiting our shores, was thus addressed by an English friend: "Come with me to Bond Street, you will there see the work of your greatest living painter."

"Our greatest painter!" exclaimed the other. "You mean your own. Dor is our first draughtsman of France, yes, but painter, never, neither the greatest nor great; at least we were ignorant of the fact till informed of it by yourself and your country-people."

Dor knew well how matters stood, and bitterly resented the attitude of his own nation. Accorded a princely welcome across the Manche, his work worth its weight in gold on the other side of the Atlantic, in France he was looked at askance, even as a painter ignored. He regarded himself as shut out from his rightful heritage, and the victim, if not of a conspiracy, of a cabal. His school playmates and close friends, Taine, Edmond About and Th. Gautier, might be on his side; perhaps, with reservations, Rossini and a few other eminent associates also. But the prescient, unerring verdict of the collective "man in the street"—

"The people's voice, the proof and echo of all human fame"—

he missed; resentment preyed upon his spirits, undermined his vitality, and doubtless had something to do with his premature breakdown.

The Dor gallery indeed proved his Capua, the long-stop to his fame.

IV

As a personality the would-be Titian, Drer, Thorwaldsen and Benvenuto Cellini in one presents an engaging figure. His domestic life makes very pleasant reading. We find no dark holes and corners in the career of one who may be said to have remained a boy to the end, at fifty as at five full of freak and initiative, clingingly attached to a devoted and richly-endowed mother, and the ebullient spirit of a happy home. With his rapidly increasing fortune, the historic house in the Rue Dominique became an artistic, musical and dramatic centre. His ftes were worthy of a millionaire, and, alike in those private theatricals, tableaux vivants or concerts, he ever took a leading part. An accomplished violinist, Dor found in music a never-failing stimulant and refreshment. Rossini was one of his circle, among others were the two Gautiers, the two Dumas, Carolus Duran, Liszt, Gounod, Patti, Alboni and Nilsson, Mme. Dor, still handsome and alert in her old age, proudly doing the honours of what was now called the Htel Dor. By his literary and artistic brethren the many-faceted genius and exhilarating host was fully appreciated. Generosities he ever freely indulged in, the wealth of such rapid attainment being dispensed with an ungrudgeful hand. To works of charity the great illustrator gave largely, but we hear of no untoward misreckonings, nor bills drawn upon time, health or talents. With him, as with the average Frenchman, solvency was an eleventh commandment.

Meantime, as the years wore on, again and again he bid desperately for the suffrages withheld, his legitimately won renown held by him of small account. To his American biographer he said, on showing her some of his pictures: "I illustrate books in order to pay for my colours and paint-brushes. I was born a painter."

On the lady's companion, an American officer, naively asking if certain canvases were designed for London or Paris, he answered with bitter irony—

"Paris, forsooth! I do not paint well enough for Paris." As he spoke his face became clouded. The gay, jovial host of a few minutes before sighed deeply, and during their visit could not shake off depression.

Two crowning humiliations came before the one real sorrow of his life, the loss of that gifted mother who was alike his boon companion, closest confidante and enthusiastic Egeria. Perpetually seeking laurels in new fields, in 1877 he made his dbut as a sculptor. The marble group, "La Parque et l'Amour," signed G. Dor, won a succs d'estime, no more. In the following year was opened the great international exhibition on the Champ de Mars, Dor's enormous monumental vase being conspicuously placed over one of the porticoes. This astounding achievement in bronze, appropriately named the "Pome de la Vigne," created quite a sensation at the time. Reproductions appeared in papers of all countries containing a printing press or photographic machine. But for the artist's name, doubtless his work would have attained the gold medal and other honours. The Brobdingnagian vase, so wonderfully decorated with flowers, animals and arabesques, was passed over by the jury.

Equally mortifying was the fate of his marble group in the same year's Salon. This subject, "La Gloire," had a place of honour in the sculpture gallery and won universal suffrages. The critics echoed popular approval. The jury remained passive. It was in the midst of these unnecessarily crushing defeats—for why, indeed, should any mortal have craved more than mortal success?—that Mme. Dor's forces gave way. From that time till her death, which occurred two years later, her son's place was by her side, floutings, projects, health and pleasure, forgotten, his entire thoughts being given to the invalid. No more beautiful picture of filial devotion could suggest itself to the painter of domestic subjects than this, Dor with table and sketching materials seated in his mother's sick-room, or at night ministering to her in wakeful moments. At dawn he would snatch a few hours' sleep, but that was all. No wonder that his own health should give way so soon after the death-blow of her loss.

"My friend," he wrote to an English boon companion, on March 16, 1881, "she is no more. I am alone. You are a clergyman, I entreat you to pray for the repose of her beloved soul and the preservation of my reason."

A few days later he wrote to the same friend of his "frightful solitude," adding his regret at not having anticipated such a blank and made for himself a home—in other words, taken a wife.

Some kind matchmaking friends set to work and found, so at least they fancied, a bride exactly calculated to render him happy.

But on January 23, 1883, Dor died, prematurely aged and broken down by grief, corroding disappointment and quite frenzied overwork and ambition.

He never attained recognition as a historic painter among his country-folks. One canvas, however, "Tobit and the Angel," is placed in the Luxembourg, and his monument to Dumas ornaments the capital. His renown as an illustrator remains high as ever in France. And one, that one, the passionately desired prize of every Frenchman, became his: in 1861 he was decorated with the Red Ribbon. Six of Dor's great religious subjects retain their place in the Bond Street Gallery, but for reasons given above his wonderfully imaginative illustrations are here forgotten.

The superb edition of the Enid (Moxon, 1868), a folio bound in royal purple and gold, and printed on paper thick as vellum, the volume weighing four pounds, awakens melancholy reflections. What would have been poor Dor's feelings had he lived to see such a guinea's worth, and cheap at the price, gladly sold, rather got rid of, for three shillings!

Dor's last work, the unconventional monument to the elder Dumas, was left unfinished.

Completed by another hand, the group now forms a conspicuous object in the Avenue Villiers, Paris.

The striking figure of the great quadroon, with his short crisped locks, suggests a closer relationship to the race thus apostrophized by Walt Whitman—

"You, dim descended, black, divine souled African...."

He surmounts a lofty pedestal, on the base being seated a homely group, three working folks, a mob-capped woman reading a Dumas novel to two companions, evidently her father and husband, sons of the soil, drinking in every word, their attitude of the most complete absorption. Classicists and purists in art doubtless look askance at a work which would certainly have enchanted the sovereign romancer.

"Will folks read my stories when I am gone, doctor?" he asked as he lay a-dying. The good physician easily reassured his patient. "When we have patients awaiting some much-dreaded operation in hospital," he replied, "we have only to give them one of your novels. Straightway they forget everything else." And Dumas—"the great, the humane," as a charming poet has called him—died happy. As well he might, in so far as his fame was concerned. La Tulipe Noire would alone have assured his future.



VI

QUISSAC AND SAUVE

One should always go round the sun to meet the moon in France, that is to say, one should ever circumambulate, never make straight for the lodestar ahead. The way to almost any place of renown, natural, historic or artistic, is sure to teem with as much interest as that to which we are bound. So rich a palimpsest is French civilization, so varied is French scenery, so multifarious the points of view called up at every town, that hurry and scurry leave us hardly better informed than when we set out. Thus it has ever been my rule to indulge in the most preposterous peregrination, taking no account whatever of days, seasons or possible cons, hearkening only to the pros, and never so much as glancing at the calendar. Such protracted zigzaggeries have been made easy to the "devious traveller" by one unusual advantage. Just as pioneers in Australasia find Salvation Army shelters scattered throughout remotest regions, so, fortunately, have I ever been able to count upon "harbour and good company" during my thirty-five years of French sojourn and travel.

To reach a certain Pyrenean valley in which I was to spend a holiday would only have meant a night's dash by express from Paris. Instead, I followed the south-eastern route, halting at—Heaven knows how many!—already familiar and delightful places between Paris and Dijon, Dijon and Lyons, Lyons and Nmes; from the latter city being bound for almost as many more before reaching my destination.

Quite naturally I would often find myself on the track of that "wise and honest traveller," so John Morley calls Arthur Young.

Half-way between Nmes and Le Vigan lies the little town of Sauve, at which the Suffolk farmer halted in July 1787. "Pass six leagues of a disagreeable country," he wrote. "Vines and olives."

But why a disagreeable country? Beautiful I thought the landscape as I went over the same ground on a warm September afternoon a century and odd years later, on alighting to be greeted with a cheery—

"Here I am!"

As a rule I am entirely of Montaigne's opinion. "When I travel in Sicily," said the philosopher of Gascony, "it is not to find Gascons." Dearly as we love home and home-folk, the gist of travel lies in oppositeness and surprises. We do not visit the uttermost ends of the globe in search of next-door neighbours. That cordial "Here I am!" however, had an unmistakable accent, just a delightful suspicion of French. My host was a gallant naval officer long since retired from service, with his English wife and two daughters, spending the long vacation in his country home.

High above the little village of Quissac rises the residence of beneficent owners, master and mistress, alas! long since gone to their rest. From its terrace the eye commands a vast and beautiful panorama, a richly cultivated plain dotted with villages and framed by the blue Cvennes. Tea served after English fashion and by a dear countrywoman, everywhere "le confortable Anglais" admittedly unattainable by French housewives, could not for a single moment make me forget that I was in France. And when the dinner gong sounded came the final, the unequivocal, proof of distance.

Imagine dining out of doors and in evening dress at eight o'clock in the last week of August! The table was set on the wide balcony of the upper floor, high above lawn and bosquets, the most chilly person having here nothing to fear. It is above all things the French climate that transports us so far from home and makes us feel ourselves hundreds, nay, thousands of miles away.

I have elsewhere, perhaps ofttimes, dwelt on the luminosity of the atmosphere in southern and south-western France. To-night not a breath was stirring, the outer radiance was the radiance of stars only, yet so limpid, so lustrous the air that cloudless moonlight could hardly have made every object seem clearer, more distinct. The feeling inspired by such conditions is that of enchantment. For the nonce we may yield to a spell, fancy ourselves in Armida's enchanted garden or other "delightful land of Fary."

Not for long, however! Pleasant practical matters soon recall us to the life of every day. That laborious, out-of-door existence, which seems sordid in superfine English eyes, but which is never without the gaiety that enchanted Goldsmith and Sterne a hundred and fifty years ago.

Whilst host and guest dined on the balcony, the farming folk and such of the household as could be spared were enjoying a starlit supper elsewhere. Later, my hostess took me downstairs and introduced her English visitor to a merry but strictly decorous party having a special bit of sward to themselves, bailiff, vintagers, stockmen, dairywoman, washerwoman and odd hands making up a round dozen of men, women and boys. All seemed quite at home, and chatted easily with their employer and the visitor, by no means perturbed, rather pleased by the intrusion.

And here I will mention one of those incidents that lead English observers into so many misconceptions concerning French rural life. Little things that seem sordid, even brutifying to insular eyes, really arise from incompatible standards.

The Frenchman's ideal of material comfort begins and ends with solvency, the sense of absolute security from want in old age. Small comforts he sets little store by; provided that he gets a good dinner, lesser considerations go. I do not hesitate to say that the comforts enjoyed by our own farm-servants half a century ago were far in excess of those thought more than sufficient by French labourers and their employers. On the following day my hosts took me round the farmery, fowl-run, piggeries, neat-houses and stalls being inspected one by one. When we came to the last named, I noticed at the door of the long building and on a level with the feeding troughs for oxen, a bed-shaped wooden box piled up with fresh clean straw.

"That is where our stockman sleeps," explained the lady.

Here, then, quite contentedly slept the herdsman of a large estate in nineteenth-century France, whilst his English compeers two generations before, and in much humbler employ, had their tidy bedroom and comfortable bed under the farmer's roof. What would my own Suffolk ploughmen have said to the notion of spending the night in an ox-stall? But autres pays, autres moeurs. In Droulde's fine little poem, "Bon gte", a famished, foot-sore soldier returning home is generously entreated by a poor housewife. When she sets about preparing a bed for him, he remonstrates—

"Good dame, what means that new-made bed, Those sheets so finely spun? On heaped-up straw in cattle-shed, I'd snore till rise of sun."

The compensations for apparent hardship in the case of French peasants are many and great. In Henry James's great series of dissolving views called The American Scene, he describes the heterogeneous masses as having "a promoted look". The French proletariat have not a promoted look, rather one of inherited, traditional stability and self-respect. One and all, moreover, are promoting themselves, rising by a slow evolutionary process from the condition of wage-earner to that of metayer, tenant, lastly freeholder.

Although the immediate environs of Quissac and Sauve are not remarkable, magnificent prospects are obtained a little farther afield—our drives and walks abounded in interest—and associations! Strange but true it is that we can hardly halt anywhere in France without coming upon historic, literary or artistic memorials. Every town and village is redolent of tradition, hardly a spot but is glorified by genius!

Thus, half-an-hour's drive from our village still stands the chteau and birthplace of Florian, the Pollux of fabulists, La Fontaine being the Castor, no other stars of similar magnitude shining in their especial arc.

Jean-Pierre Claris de Florian was born here in 1755, just sixty years after the great fabulist's death. Nephew of a marquis, himself nephew-in-law of Voltaire, endowed with native wit and gaiety, the young man was a welcome guest at Fernay, and no wonder! His enchanting fables did not see the light till after Voltaire's death, but we will hope that some of them had delighted his host in recitation. Many of us who loved French in early years have a warm corner in our hearts for "Numa Pompilius", but Florian will live as the second fabulist of France, to my own thinking twin of his forerunner.

How full of wisdom, wit and sparkle are these apologues! Take, for instance, the following, which to the best of my ability I have rendered into our mother tongue—

VANITY (LE PETIT CHIEN).

I Once on a time and far away, The elephant stood first in might, He had by many a forest fray At last usurped the lion's right. On peace and reign unquestioned bent, The ruler in his pride of place, Forthwith to life-long banishment Doomed members of the lion race.

II Dispirited, their best laid low, The vanquished could but yield to fate, And turn their backs upon the foe In silence nursing grief and hate. A poodle neatly cropped and clipped, With tasselled tail made leonine, On hearing of the stern rescript, Straightway set up a piteous whine.

III "Alas!" he moaned. "Ah, woe is me! Where, tyrant, shall I shelter find; Advancing years what will they be, My home and comforts left behind?" A spaniel hastened at the cry, "Come, mate, what's this to-do about?" "Oh, oh," the other gulped reply, "For exile we must all set out!"

IV "Must all?" "No, you are safe, good friend; The cruel law smites us alone; Here undisturbed your days may end, The lions must perforce begone." "The lions? Brother, pray with these, What part or lot have such as you?" "What part, forsooth? You love to tease; You know I am a lion too."

[Footnote: The first translation appeared with others in French Men, Women and Books, 1910. The second was lately issued in the Westminster Gazette.]

Here is another, a poem of essential worldly wisdom, to be bracketed with Browning's equally oracular "The Statue and the Bust," fable and poem forming a compendium.

THE FLIGHTY PURPOSE (LE PAYSAN AND LA RIVIERE).

"I now intend to change my ways"— Thus Juan said—"No more for me A round on round of idle days 'Mid soul-debasing company. I've pleasure woo'd from year to year As by a siren onward lured, At last of roystering, once held dear, I'm as a man of sickness cured."

"Unto the world I bid farewell, My mind to retrospection give, Remote as hermit in his cell, For wisdom and wise friends I'll live." "Is Thursday's worldling, Friday's sage? Too good such news," I bantering spoke. "How oft you've vowed to turn the page, Each promise vanishing like smoke!"

"And when the start?" "Next week—not this." "Ah, you but play with words again." "Nay, do not doubt me; hard it is To break at once a life-long chain." Came we unto the riverside, Where motionless a rustic sate, His gaze fixed on the flowing tide. "Ho, mate, why thus so still and squat?"

"Good sirs, bound to yon town am I; No bridge anear, I sit and sit Until these waters have run dry, So that afoot I get to it." "A living parable behold, My friend!" quoth I. "Upon the brim You, too, will gaze until you're old, But never boldly take a swim!"

As far as I know, no memorial has as yet been raised to the fabulist either at Quissac or at Sauve, but as long as the French language lasts successive generations will keep his memory green. Certain of his fables every little scholar knows by heart.

Associations of other kinds are come upon by travellers bound from Quissac to Le Vigan, that charming little centre of silkworm rearing described by me elsewhere. A few miles from our village lies Ganges, a name for ever famous in the annals of political economy and progress.

"From Ganges", wrote the great Suffolk farmer in July 1787, "to the mountain of rough ground which I crossed" (in the direction of Montdardier), "the ride has been the most interesting which I have taken in France; the efforts of industry the most vigorous, the animation the most lively. An activity has been here that has swept away all difficulties before it and clothed the very rocks with verdure. It would be a disgrace to common sense to ask the cause; the enjoyment of property must have done it. Give a man the sure possession of a bleak rock, and he will turn it into a garden." The italics are my own. When will Arthur Young have his tablet in Westminster Abbey, I wonder?

The department of the Gard offers an anomaly of the greatest historic interest. Here and here only throughout the length and breadth of France villages are found without a Catholic church, communities that have held fast to Protestantism and the right of private judgment from generation to generation during hundreds of years. Elsewhere, in the Cte d'Or, for instance, as I have described in a former work, Protestantism was completely stamped out by the Revocation, whole villages are now ultramontane, having abjured, the alternatives placed before them being confiscation of property, separation of children and parents, banishment, prison and death.

[Footnote: See Friendly Faces, chap. xvi.]

The supremacy of the reformed faith may be gathered from the following facts: A few years back, of the six deputies representing this department five were Protestant and the sixth was a Jew. The Conseil Gnral or provincial council numbered twenty-three Protestants as against seventeen Catholics. The seven members of the Board of Hospitals at Nmes, three of the four inspectors of public health, nine of the twelve head-mistresses of girls' schools, twenty-nine of forty rural magistrates, were Protestants.

My host belonged to the same faith, as indeed do most of his class and the great captains of local industry. It is not as in Michelet's fondly-loved St. Georges de Didonne, where only the lowly and the toiler have kept the faith aflame.

But whilst neighbours now live peacefully side by side, a gulf still divides Catholic and Protestant. Although half a millennium has elapsed since the greatest crime of modern history, the two bodies remain apart: French annexs of Alsace-Lorraine and Germans are not more completely divided. Mixed marriages are of rarest occurrence, intercourse limited to the conventional and the obligatory. There are historic curses that defy lustration. St. Bartholomew is one of these. I must now say something about the country-folks. Calls upon our rustic neighbours, long chats with affable housewives, and rounds of farmery, vineyard and field attracted me more than the magnificent panoramas to be obtained from Corconne and other villages within an easy drive.

George Sand has ever been regarded as a poetizer of rural life, an arch-idealist of her humbler country-folks. At Quissac I made more than one acquaintance that might have stepped out of La petite Fadette or La mare au Diable.

One old woman might have been "la paisible amie," the tranquil friend, to whom the novelist dedicated a novel. Neat, contented, active and self-respecting, she enjoyed a life-interest in two acres and a cottage, her live stock consisting of a goat, a pig and poultry, her invested capital government stock representing a hundred pounds. Meagre as may seem these resources, she was by no means to be pitied or inclined to pity herself, earning a few francs here and there by charing, selling her little crops, what eggs and chickens she could spare, above all things being perfectly independent.

A charming idyll the great Sand could have found here. The owner of a thirty-acre farm had lately died, leaving it with all he possessed to two adopted children, a young married couple who for years had acted respectively as steward and housekeeper. We are bound to infer that on the one hand there had been affection and gratitude, on the other the same qualities with conscientiousness in business matters. The foster-father was childless and a widower, but, among the humble as well as the rich French, ambition of posthumous remembrance often actuates impersonal bequests. This worthy Jacques Bonhomme might have made an heir of his native village, leaving money for a new school-house or some other public edifice. Very frequently towns and even villages become legatees of the childless, and the worthy man would have been quite sure of a statue, a memorial tablet, or at least of having his name added to a street or square.

Before taking leave of Quissac I must mention one curious fact.

The Proteus of Odyssean story or the King's daughter and the Efreet in the "Second Royal Mendicant's Adventure," could not more easily transform themselves than the French peasant. Husbandman to-day, mechanic on the morrow, at one season he plies the pruning-hook, at another he turns the lathe. This adaptability of the French mind, strange to say, is nowhere seen to greater advantage than in out-of-the-way regions, just where are mental torpidity and unbendable routine. Not one of Millet's blue-bloused countrymen but masters a dozen handicrafts.

Thus, whilst the heraldic insignia of Sauve should be a trident, those of Quissac should be surmounted by an old shoe! In the former place the forked branches of the Celtis australis or nettle tree, Ulmace, afford a most profitable occupation. From its tripartite boughs are made yearly thousands upon thousands of the three-pronged forks used in agriculture. The wood, whilst very durable, is yielding, and lends itself to manipulation.

In Florian's birthplace folks make a good living out of old boots and shoes! Some native genius discovered that, however well worn footgear may be, valuable bits of leather may remain in the sole. These fragments are preserved, and from them boot heels are made; the dbris, boots, shoes and slippers, no matter the material, find their way to the soil as manure. But this subject if pursued further would lead to a lane, metaphorically speaking, without a turning, that is to say to a treatise on French rural economy.



VII

AN IMMORTALIZER

In Renan's exquisitely phrased preface to his Drames Philosophiques occurs the following sentence which I render into English tant bien que mal: "Side by side are the history of fact and the history of the ideal, the latter materially speaking of what has never taken place, but which, in the ideal sense, has happened a thousand times."

Who when visiting the beautiful little town of Saumur thinks of the historic figures connected with its name? Even the grand personality of Duplessis Morny sinks into insignificance by comparison with that of the miser's daughter, the gentle, ill-starred Eugnie Grandet! And who when Carcassonne first breaks upon his view thinks of aught but Nadaud's immortal peasant and his plaint—

"I'm growing old, just three score year, In wet and dry, in dust and mire, I've sweated, never getting near Fulfilment of my heart's desire. Ah, well I see that bliss below 'Tis Heaven's will to vouchsafe none, Harvest and vintage come and go, I've never got to Carcassonne!"

The tragi-comic poem of six eight-lined verses ending thus—

"So sighed a peasant of Limoux, A worthy neighbour bent and worn. 'Ho, friend,' quoth I, 'I'll go with you. We'll sally forth to-morrow morn.' And true enough away we hied, But when our goal was almost won, God rest his soul!—the good man died, He never got to Carcassonne!"

No lover of France certainly should die without having seen Carcassonne, foremost of what I will call the pictorial Quadrilateral, no formidable array after the manner of their Austrian cognominal, but lovely, dreamlike things. These four walled-in towns or citadels, perfect as when they represented mediaeval defence, are Carcassonne, Provins in the Brie, Semur in upper Burgundy, and the Breton Gurande, scene of Balzac's Batrix. To my thinking, and I have visited each, there is little to choose between the first two, but exquisite as is the little Briard acropolis, those imaginary "topless towers of Ilium" of Nadaud's peasant bear the palm. That first view of Carcassonne as we approach it in the railway of itself repays a long and tedious journey. A vision rather than reality, structure of pearly clouds in mid-heaven, seems that opaline pile lightly touched with gold. We expect it to evaporate at evenfall! Vanish it does not, nor wholly bring disillusion, so fair and harmonious are the vistas caught in one circuit of the citadel, mere matter of twenty minutes.

But the place by this time has become so familiar to travellers in France and readers of French travel, that I will here confine myself to its glorifier, author of a song that has toured the world.

The first biography of the French Tom Moore, published last year, gives no history of this much translated poem. Had, indeed, some worthy vine-grower poured out such a plaint in the poet's ears? Very probably, for one and all of Nadaud's rural poems breathe the very essence of the fields, the inmost nature of the peasant, from first to last they reveal Jacques Bonhomme to us, his conceptions of life, his mentality and limitations.

[Footnote: My own rendering of this piece and many other of Nadaud's songs and ballads are given in French Men, Women and Books, 1910. American translators have admirably translated Carcassonne.]

Nadaud's career is uneventful, but from one point of view, far from being noteless, he was pre-eminently the happy man. His biographer (A. Varloy) tells us of a smooth, much relished, even an exuberant existence. The son of an excellent bourgeois, whose ancestry, nevertheless, like that of many another, could be traced for six hundred years, his early surroundings were the least lyric imaginable.

He was born at Roubaix, the flourishing seat of manufacture near Lille, which, although a mere chef-lieu du canton, does more business with the Bank of France than the big cities of Toulouse, Nmes, Montpellier and others thrice its size. Dress fabrics, cloths and exquisite napery are the products of Roubaix and its suburb; vainly, however, does any uncommercial traveller endeavour to see the weavers at work. Grimy walls and crowded factory chimneys are relieved at Roubaix by gardens public and private, and the town is endowed with museums, libraries, art and technical schools. But Nadaud, like Cyrano de Bergerac, if asked what gave him most delectation, would certainly have replied—

"Lorsque j'ai fait un vers et que je l'aime, Je me paye en me le chantant moi-mme."

Here is the boy's daily programme when a twelve-year-old student at the Collge Rollin, Paris. The marvel is that the poetic instinct survived such routine, marvellous also the fact that the dry-as-dust in authority was a well-known translator of Walter Scott. If anything could have conjured the Wizard of the North from his grave it was surely these particulars written by Gustave Nadaud to his father on the 19th of October, 1833—

"Five-thirty, rise; five-forty-five, studies till seven-thirty; breakfast and recreation from seven-thirty till eight; from eight till ten, school; from ten to a quarter past, recreation; from a quarter past ten till half past twelve, school; then dinner and recreation from one till two. School from two till half past four; collation from half past four till a quarter past five; school from a quarter past five till eight. Supper and to bed."

Poetry here was, however, a healthy plant, and in his school-days this born song-writer would scribble verses on his copy-books and read Racine for his own amusement. Turning his back upon the mill-wheels of his native town and an assured future in a Parisian business house, like Gil Bias's friend, il s'est jet dans le bel esprit—in other words, he betook himself to the career of a troubadour. Never, surely, did master of song-craft write and sing so many ditties!

Quitting school with a tip-top certificate both as to conduct and application, Gustave Nadaud quickly won fame if not fortune. Hardly of age, he wrote somewhat Bohemian effusions that at once made the round of Parisian music-halls.

The revolution, if it brought topsy-turvydom in politics, like its great forerunner '89 brought the apogee of song. The popular young lyrist, ballader and minstrel, for Nadaud accompanied himself on the piano, now made a curious compact, agreeing to write songs for twenty years, a firm named Heugel paying him six thousand francs yearly by way of remuneration.

Two hundred and forty pounds a year should seem enough for a young man, a bachelor brought up in bourgeois simplicity. But the cost of living in Paris was apparently as high sixty years ago as now. In 1856-7 he wrote to a friend: "How upon such an income I contrived to live and frequent Parisian salons without ever asking a farthing of any one, only those who have been poor can tell." The salons spoken of were not only aristocratic but Imperial, the late Princess Mathilde being an enthusiastic hostess and patroness. Several operettas were composed by Nadaud for her receptions and philanthropic entertainments. Here is a sketch of the French Tom Moore in 1868 by a witty contributor of the Figaro—

"Nadaud then seated himself at the piano, and of the words he sang I give you full measure, the impression produced by his performance I cannot hope to convey. Quite indescribable was the concord of voice and hands, on the music as on wings each syllable being lightly borne, yet its meaning thereby intensified. In one's memory only can such delight be revived and reproduced."

With other poets, artists and musicians Nadaud cast vocation to the winds in 1870-1, working in field and other hospitals. "I did my best to act the part of a poor little sister of charity," he wrote to a friend. His patriotic poem, "La grande blesse," was written during that terrible apprenticeship.

With Nadaud henceforward it was a case of roses, roses all the way. Existence he had ever taken easily, warm friendships doing duty for a domestic circle. And did he not write—

"I dreamed of an ideal love And Benedick remain?"

His songs proved a mine of wealth, and the sumptuously illustrated edition got up by friends and admirers brought him 80,000 francs, with which he purchased a villa, christened Carcassonne, at Nice, therein spending sunny and sunny-tempered days and dispensing large-hearted hospitality. To luckless brethren of the lyre he held out an ungrudgeful hand, alas! meeting with scant return. The one bitterness of his life, indeed, was due to ingratitude. Among his papers after death was found the following note—

"Throughout the last thirty years I have lent sums, large considering my means, to friends, comrades and entire strangers. Never, never, never has a single centime been repaid by a single one of these borrowers. I now vow to myself, never under any circumstances whatever to lend money again!"

Poor song-writers, nevertheless, he posthumously befriended. By his will with the bulk of his property was founded "La petite Caisse des chansonniers," a benefit society for less happy Nadauds to come. By aid of these funds, lyrists and ballad-writers unable to find publishers would be held on their onward path. Full of honours, Nadaud died in 1893, monuments being erected to his memory, streets named after him, and undiminished popularity keeping his name alive.

And the honour denied to Branger, to Victor Hugo, to Balzac, the coveted sword and braided coat of the Forty were Nadaud's also. With the witty Piron he could not ironically anticipate his own epitaph thus—

"Here lies Nadaud who was nothing, not even an Academician!"

Before taking leave of Carcassonne, poetic and picturesque, the most inveterate anti-sightseer should peep into its museum. For this little chef-lieu of the Aude, with a population under thirty thousand, possesses what, indeed, hardly a French townling lacks, namely, a picture-gallery. If not remarkable from an artistic point of view, the collection serves to demonstrate the persistent, self-denying and constant devotion to culture in France. Times may be peaceful or stormy, seasons may prove disastrous, the withered, thin and blasted ears of corn may devour the seven ears full and golden, the ship of State may be caught in a tornado and lurch alarmingly—all the same "the man in the street," "the rascal many," to quote Spenser, will have a museum in which, with wife and hopefuls, to spend their Sunday afternoons. The local museum is no less of a necessity to Jacques Bonhomme than his daily pot-au-feu, that dish of soup which, according to Michelet, engenders the national amiability.

The splendid public library—the determinative is used in the sense of comparison—numbers just upon a volume per head, and the art school, school of music, and other institutions tell the same story. Culture throughout the country seems indigenous, to spread of itself, and, above all things, to reach all classes. Culture on French soil is gratuitous, ever free as air! We must never overlook that primary fact.

One or two more noticeable facts about Carcassonne. Here was born that eccentric revolutionary and poetic genius, Fabre d'Eglantine, of whom I have written elsewhere.

[Footnote: See Literary Rambles in France, 1906]

Yet another historic note. From St. Vincent's tower during the Convention, 1792-5, were taken those measurements, the outcome of which was the metric system. Two mathematicians, by name Delambre and Mchain, were charged with the necessary calculations, the mtre, or a ten-millionth part of the distance between the poles and the equator (32,808 English feet), being made the unit of length. Uniformity of weight followed, and became law in 1799.

But to touch upon historic Carcassonne is to glance upon an almost interminable perspective. The chronicle of this charming little city on the bright blue Aude has been penned and re-penned in blood and tears. In 1560 Carcassonne suffered a preliminary Saint Bartholomew, a general massacre of Protestants announcing the evil days to follow; days that after five hundred years have left their trace, moral as well as material.



VIII

TOULOUSE

A zigzaggery, indeed, was this journey from Nmes to my Pyrenean valley. That metropolis of art and most heroic town, Montauban, I could not on any account miss. Toulouse necessarily had to be taken on the way to Ingres-ville, as I feel inclined to call the great painter's birthplace and apotheosis. But why write of Toulouse? The magnificent city, its public gardens, churches, superbly housed museums and art galleries, its promenades, drives and panoramas are all particularized by Murray, Joanne and Baedeker. Here, however, as elsewhere, are one or two features which do not come within the province of a guide-book.

The only city throughout France that welcomed the Inquisition was among the first to open a Lyce pour jeunes filles. In accordance with the acts of 1880-82 public day schools for girls were opened throughout France; that of Toulouse being fairly representative, I will describe my visit.

The school was now closed for the long vacation, but a junior mistress in temporary charge gave us friendliest welcome, and showed us over the building and annexes. She evidently took immense and quite natural pride in the little world within world of which she formed a part. Her only regret was that we could not see the scholars at work. Here may be noted the wide field thrown open to educated women by the above-named acts, from under-mistresses to Madame la directrice, the position being one of dignity and provision for life, pensions being the reward of long service.

The course of study is prepared by the rector of the Toulousain Academy, and the rules of management by the municipal council, thus the programme of instruction bears the signature of the former, whilst the prospectus, dealing with fees, practical details, is signed by the mayor in the name of the latter.

We find a decree passed by the town council in 1887 to the effect that in the case of two sisters a fourth of the sum-total of fees should be remitted, of three, a half, of four, three-quarters, and of five, the entire amount. Even the outfit of the boarders must be approved by the same authority. A neat costume is obligatory, and the number and material of undergarments is specified with the utmost minuteness. Besides a sufficient quantity of suitable clothes, each student must bring three pairs of boots, thirty pocket-handkerchiefs, a bonnet-box, umbrella, parasol, and so forth.

Such regulations may at first sight look trivial and unnecessary, but there is much to be said on the other side. From the beginning of the term to the end, the matron, whose province is quite apart from that of the head-mistress, is never worried about the pupils' dress, no shoes in need of repair, no garments to be mended, no letters to be written begging Mme. A. to send her daughter a warm petticoat, Mme. B. to forward a hair-brush, and so on. Again, the uniform obligatory on boarders prevents those petty jealousies and rivalries provoked by fine clothes in girls' schools. Alike the child of the millionaire and of the small official wear the same simple dress.

Children are admitted to the lower school between the ages of five and twelve, the classes being in the hands of certificated mistresses. The upper school, at which pupils are received from twelve years and upwards, and are expected to remain five years, offers a complete course of study, lady teachers being aided by professors of the Facult des Lettres and of the Lyce for youths. Students who have remained throughout the entire period, and have satisfactorily passed final examinations, receive a certificate entitling them to admission into the great training college of Svres or to offer themselves as teachers in schools and families.

The curriculum is certainly modest compared with that obligatory on candidates for London University, Girton College, or our senior local examination; but it is an enormous improvement on the old conventual system, and several points are worthy of imitation. Thus a girl quitting the Lyce would have attained, first and foremost, a thorough knowledge of her own language and its literature; she would also possess a fair notion of French common law, of domestic economy, including needlework of the more useful kind, the cutting out and making up of clothes, and the like. Gymnastics are practised daily. In the matter of religion the municipality of Toulouse shows absolute impartiality. No sectarian teaching enters into the programme, but Catholics and Protestants and Jews in residence can receive instruction from their respective ministers.

The Lyce competes formidably with the convents as regards fees. Twenty-eight pounds yearly cover the expense of board, education, and medical attendance at the upper school; twenty-four at the lower; day boarders pay from twelve to fifteen pounds a year; books, the use of the school omnibus, and laundress being extras. Three hundred scholars in all attended during the scholastic year ending July 1891.

Day-pupils not using the school omnibus must be accompanied to and from the school, and here an interesting point is to be touched upon. In so far as was practicable, the Lyce for girls has been modelled on the plan of the time-honoured establishments for boys. As yet a uniform curriculum to begin with was out of the question; the programme is already too ambitious in the eyes of many, whilst ardent advocates of the higher education of women in France regret that the vices as well as the virtues of the existing system have been retained. Educationists and advanced thinkers generally would fain see a less strait-laced routine, a less stringent supervision, more freedom for play of character. The Lyce student, boy or girl, youth or maiden, is as strictly guarded as a criminal; not for a moment are these citizens of the future trusted to themselves.

In the vast dormitory of the high school here we see thirty neat compartments with partitions between, containing bed and toilet requisites, and at the extreme end of the room, commanding a view of the rest, is the bed of the under-mistress in charge, surveillante as she is called. Sleeping or waking, the students are watched. This massing together of numbers and perpetual supervision no longer find universal favour.

But I am here writing of fifteen years ago. Doubtless were I to repeat my visit I should find progressive changes too numerous for detail. Happy little middle-class Parisians now run to and from their Lyces unattended. Young ladies in society imitate their Anglo-Saxon sisters and have shaken off that incubus, la promeneuse or walking chaperon.

Works on social France, as is the case with almanacs, encyclopdias and the rest, require yearly revision. Manners and customs change no less quickly than headgear and skirts.

Charles Lamb would have lived ecstatically at the Languedocian capital. It is a metropolis of beggardom, a mendicant's Mecca, a citadel of Jules Richepin's cherished Gueux. Here, indeed, Elia need not have lamented over the decay of beggars, "the all sweeping besom of societarian reformation—your only modern Alcides' club to rid time of its abuses—is uplift with many-handed sway to extirpate the last fluttering tatters of the bugbear Mendicity. Scrips, wallets, bags, staves, dogs and crutches, the whole mendicant fraternity with all their baggage are fast hasting out of the purlieus of this eleventh persecution."

No, here is what the best beloved of English humorists calls "the oldest and the honourablest form of pauperism," here his vision would have feasted on "Rags, the Beggars' robes and graceful insignia of his profession, his tenure, his full dress, the suit in which he is expected to show himself in public." "He is never out of fashion," adds Lamb, "or limpeth outwardly behind it. He is not required to wear court mourning. He weareth all colours, fearing none. His costume hath undergone less change than the Quaker's. He is the only man in the universe who is not obliged to study appearances."

Here, too, would the unmatchable writer have gazed upon more than one "grand fragment, as good as an Elgin marble." And alas! many deformities more terrible still, and which, perhaps, would have damped even Lamb's ardour. For in the Toulouse of 1894, as in the London of sixty years before, its mendicants "were so many of its sights, its Lions." The city literally swarmed with beggars. At every turn we came upon some living torso, distorted limb and hideous sore. Begging seemed to be the accepted livelihood of cripples, blind folk and the infirm. Let us hope that by this time something better has been devised for them all. Was it here that Richepin partly studied the mendicant fraternity, giving us in poetry his astounding appreciation, psychological and linguistic? And perhaps the bard of the beggars, like the English humorist, would wish his pauvres Gueux to be left unmolested.

The sights of Toulouse would occupy a conscientious traveller many days. The least leisurely should find time to visit the tiny square called place du Salin. Here took place the innumerable autos-da-f of the Toulousain Inquisition, and here, so late as 1618, the celebrated physician and scientist Vanini was atrociously done to death by that truly infernal tribunal, and for what? For simply differing from the obscurantism of his age, and having opinions of his own.

The atrocious sentence passed on Vanini was in part remitted, evidently public opinion already making itself felt. His tongue was cut out, but strangulation preceded the burning alive. Here one cannot help noting the illogical, the puerile—if such words are applicable to devilish wickedness—aspect of such Inquisitorial sentences. If these hounders-down of common-sense and the reasoning faculty really believed, as they affected to believe, that men who possessed and exercised both qualities were thereby doomed to eternal torments, why set up the horrible and costly paraphernalia of the Inquisition? After all, no matter how ingeniously inventive might be their persecutors, they could only be made to endure terminable and comparatively insignificant torments, not a millionth millionth fraction of eternity!

Refreshing it is to turn to the Toulouse of minstrelsy. The proud seat of the troubadours, the Academy of the Gay Science and of the poetic tourneys revived in our own day! Mistral's name has long been European, and other English writers have charmingly described the Feux Floraux of the olden time and the society of Lou Felibrige with its revival of Provenal literature. But forty years ago, and twenty years before his masterpiece had found a translator here, he was known and highly esteemed by a great Englishman.

In Mill's Correspondence (1910) we find a beautiful letter, and written in fine stately French, from the philosopher to the poet, dated Avignon, October 1869.

Mill had sent Mistral the French translation of his essay, "The Subjection of Women," and in answer to the other's thanks and flattering assurance of his own conversion, he wrote: "Parmi toutes les adhsions qui ont t donnes la thse de mon petit livre, je ne sais s'il y en a aucune qui m'ont fait plus de plaisir que la vtre."

The letter as a whole is most interesting, and ends with a characterization, a strikingly beautiful passage in the life and teaching of Jesus Christ. Hard were it to match this appreciation among orthodox writers.

So transparent is the atmosphere here that the Pyrenees appear within an hour's ride: they are in reality sixty miles off! Lovely are the clearly outlined forms, flecked with light and shadow, the snowy patches being perfectly distinct.



IX

MONTAUBAN, OR INGRES-VILLE

An hour by rail from Toulouse lies the ancient city of Montauban, as far as I know unnoticed by English tourists since Arthur Young's time. This superbly placed chef-lieu of the Tarn and Garonne is alike an artistic shrine and a palladium of religious liberty. Here was born that strongly individualized and much contested genius, Dominique Ingres, and here Protestantism withstood the League, De Luyne's besieging army and the dragonnades of Louis XIV.

The city of Ingres may be thought of by itself; there is plenty of food for reflection here without recalling the prude whose virtue caused more mischief than the vices of all the Montespans and Dubarrys put together. Let us forget the Maintenon terror at Montauban, the breaking up of families, the sending to the galleys of good men and women, the torturings, the roastings alive, and turn to the delightful and soothing souvenirs of genius! Every French town that has given birth to shining talent is straightway turned into a Walhalla. This ancient town, so strikingly placed, breathes of Ingres, attracts the traveller by the magic of the painter's name, has become an art pilgrimage. The noble monument erected by the townsfolk to their great citizen and the picture-gallery he bequeathed his native city well repay a much longer journey than that from Toulouse. We see here to what high levels public spirit and local munificence can rise in France. We see also how close, after all, are the ties that knit Frenchman and Frenchman, how the glory of one is made the pride of all. The bronze statue of the painter, with the vast and costly bas-relief imitating his "Apotheosis of Homer" in the Louvre, stand in the public walk, the beauty of which aroused even Arthur Young's enthusiasm. "The promenade," he wrote in June 1787, "is finely situated. Built on the highest part of the rampart, and commanding that noble vale, or rather plain, one of the richest in Europe, which extends on one side to the sea and in front to the Pyrenees, whose towering masses heaped one upon another in a stupendous manner, and covered with snow, offer a variety of lights and shades from indented forms and the immensity of their projections. This prospect, which contains a semicircle of a hundred miles in diameter, has an oceanic vastness in which the eye loses itself; an almost boundless scene of cultivation; an animated but confused mass of infinitely varied parts, melting gradually into the distant obscure, from which emerges the amazing frame of the Pyrenees, rearing their silvered heads above the clouds."

The Ingres Museum contains, I should say, more works from the hand of a single master than were ever before collected under the same roof. Upwards of a thousand sketches, many of great power and beauty, are here, besides several portraits and one masterpiece, the Christ in the Temple, brilliant as a canvas of Holman Hunt, although the work of an octogenarian. The painter's easel, palette, and brushes, his violin, the golden laurel-wreath presented to him by his native town, and other relics are reverently gazed at on Sundays by artisans, soldiers and peasant-folk. The local museum in France is something more than a little centre of culture, a place in which to breathe beauty and delight. It is a school of the moral sense, of the nobler passions, and also a temple of fame. Therein the young are taught to revere excellence, and here the ambitious are stimulated by worthy achievement.

Ingres-ville recalls an existence stormy as the history of Montauban itself. This stronghold of reform throughout her vicissitudes did not show a bolder, more determined front to the foe than did her great citizen his own enemies and detractors. Dominique Ingres and his life-story favour those physicists who discern in native soil and surroundings the formative influences of aptitudes and character. The man and his birthplace matched each other. Indomitableness characterized both, and to understand both we must know something of their respective histories. To Montauban Henri Martin's great history does ample justice, to her illustrious son contemporary writers have recently paid worthy tributes.

[Footnote: See Les Grands Artistes—Ingres, par J. Mommeja, Paris, Laurens; Le Roman d'amour de M. Ingres, par H. Lapauze, Paris, Lafitte, 1911.]

"When a writer is praised above his merits in his own times," wrote Savage Landor, "he is certain of being estimated below them in the times succeeding." In the case of Ingres, opposition and contumely were followed by perhaps excessive laudation whilst he lived, after his death ensuing a long period of reaction. Time has now set the seal upon his fame. The great Montalbanais has been finally received into the national Walhalla.

The father of the so-called French Raphal, writes his biographer, was not even a Giovanni Santi. Joseph Ingres, in the words of M. Mommja, was un petit ornemaniste, a fabricator of knick-knacks, turning out models in clay, busts in plaster, miniatures and other trifles for sale at country fairs. Who can say, this humble craftsman may yet have had much to do with his son's aspirations?

An inferior artist can appraise his masters. From the humble artificer and purveyor of bagatelles the youth not only imbibed a passion for art and technical knowledge: he inherited the next best thing to a calling, in other words, a love of music. From the palette throughout his long life Ingres would turn with never-abated enthusiasm to his adored violin.

The learned monograph above-named gives a succinct and judicial account of the painter's career. The second writer mentioned tells the story of his inner life; one, indeed, of perpetual and universal interest.

For to this sturdy young bourgeois early came a crisis. He found himself suddenly at the parting of the ways, on the one hand beckoning Conscience, on the other ambition in the flattering shape of Destiny. To which voice would he hearken? Would love and plighted troth overrule that insistent siren song, Vocation? Would he yield, as have done thousands of well-intentioned men and women before him, to self-interest and worldly wisdom? The problem to be solved by this brilliantly endowed artist just twenty-six—how many a historic parallel does it recall! What three words can convey so much pathos, heroism and generosity as "il gran riffiuto?"—the great renunciation. Does the French language contain a more touching record than that of the great Navarre's farewell to his Huguenot brethren? What bitter tears shed Jeanne d'Albret's son ere he could bring himself to sacrifice conscience on the altar of expediency and a great career!

At the age of twenty we find Dominique Ingres studying in Paris under David, then in his apogee.

The son of an obscure provincial, however promising, would hardly be overwhelmed with hospitalities; all the more welcome came the friendliness of an honourable magistrate and his wife, by name Forestier. During five years the young man had lived on terms of closest intimacy with these good folks, under his eyes growing up their only daughter.

Alas! poor Julie. Mighty, says Goethe, is the god of propinquity. On Dominique's part attachment seems to have come insensibly, as a matter of course and despite the precariousness of his position. M. Forestier encouraged the young man's advances. To Julie love for the brilliant winner of the Prix de Rome became an absorption, her very life. Not particularly endowed by Nature—we have her portrait in M. Mommja's volume—she described her own physiognomy as "not at all remarkable, but expressive of candour and goodness of heart." For Julie, as we shall see, turned her love-story into a little novel, only unearthed the other day by M. Lapauze.

The Prix de Rome meant, of course, a call to Rome, the worthy magistrate exacting from his prospective son-in-law a promise that in twelve months' time he would return. During that interval correspondence went on apace not only between the affianced lovers, but between M. Forestier and Ingres, the former taking affectionate and not uncritical interest in the other's projects. For Ingres was before all things a projector, anticipating by decades the achievements of his later years. The glow of enthusiasm, the fever of creativeness were at its height. Italy possessed Ingres' entire being when the crisis came.

After delays, excuses, pleadings, Julie's father lost patience. He would brook no further tergiversations. Ingres must choose between Italy and Paris; in other words, so the artist interpreted it, between art and marriage, a proud destiny or self-extinction.

Never had a young artist more completely fallen under the spell of Italy. The recall seemed a death-blow. "On my knees," he wrote to Julie, whom he really loved, "I implore you not to ask this. It is impossible for me to quit immediately a land so full of marvel."