CHAPTER I
FROM PARIS TO BORDEAUX

Departure from Paris – Subterranean Dwellings – Château-Regnault – Tours – Châtellerault – Angoulême – The Landes– Cubzac – Bordeaux – The Theatre – The Cathedral – St. Michael's Tower – Mummified Corpses – the Museum.

A few weeks ago (April, 1840), I happened, in an off-hand manner, to give utterance to the following phrase: – "I should like to go to Spain." Five or six days afterwards, my friends had suppressed the prudent "I should like," with which I had qualified my wish, and had told every one who chose to listen that I was about to undertake a trip to Spain. This positive formula was soon followed by the interrogation, "When do you set out?" while I, without thinking of the obligation under which I was placing myself, replied, "In a week." At the end of the week people began to manifest some astonishment at seeing me still in Paris. "I thought you were at Madrid," said one. "What! come back?" asked another. I saw at once that I owed my friends an absence of several months, and that I must pay the debt with the least possible delay, unless I wished to be mercilessly pursued, without a moment's respite, by my obliging creditors. The lobbies of the theatres, the various asphaltic and bituminous pavements of the Boulevards, were to me forbidden luxuries for the time being. All I could obtain was the grace of three or four days, and on the 5th of May I commenced relieving my native land of my importunate presence, by scrambling into the Bordeaux diligence.

I shall pass very rapidly over the first few posts, which possess nothing worthy of observation. Right and left stretch all kinds of crops, streaked like tiger or zebra skins, and bearing a most satisfactory resemblance to a tailor's book, in which are pasted his various specimens of trowsers and waistcoat patterns. Although these kinds of views are productive of great delight to farmers, landlords, and other worthies of a similar stamp, they afford but meagre entertainment to the enthusiastic and graphic traveller, who, spy-glass in hand, sets out to note the peculiarities of the universe in the same manner as a police agent does those of an individual. Having left Paris in the evening, my first impressions, after passing Versailles, are but so many feeble sketches stumped in by the hand of Night. I regret that I passed through Chartres without being able to see its cathedral.

Between Vendôme and Château-Regnault, which is pronounced Chtrnô in the language of the postilions, so well imitated by Henri Monnier in his sketch of the "Diligence," there rise a number of well-wooded hills, where the inhabitants dig their houses out of the living rock, and live under ground, after the fashion of the ancient Troglodytes. The stone obtained from these excavations they sell, so that each house thus scooped out produces another en relief, like a plaster figure taken out of a mould, or a tower dragged out of a well. The chimney, which is a long passage hammered through the rock, ends at the surface, so that the smoke ascends from the ground itself in bluish spirals, and without any visible cause, exactly as if it proceeded from a sulphur mine, or from some volcano. A facetious traveller would not experience the slightest difficulty in throwing stones into the omelets of this cryptic population, and the rabbits, if they are ever absent or short-sighted, must certainly fall, very often, all alive, into the saucepans. By constructing houses on this principle, the trouble of going down into the cellar to fetch your wine is entirely avoided.

Château-Regnault is a small town built upon a number of serpentine and rapid declivities, bordered by ill-pitched and tottering houses, which appear to lean against one another to keep themselves upright. A large round tower, situated upon the talus of some old fortifications, enveloped here and there in green patches of ivy, redeems, to a certain extent, the appearance of the town. From Château-Regnault to Tours there is nothing remarkable. Earth in the middle, and trees on each side, forming those long yellow bands, which lose themselves in the distance, and which, in the language of the wagoners, are termed rubans de queue, are all that is to be seen: then, on a sudden, the road dives down a couple of pretty steep hills, and in a few minutes you perceive the town of Tours, rendered famous by its prunes, Rabelais, and de Balzac.

The Bridge of Tours is very celebrated, and possesses in itself nothing exceedingly remarkable; but the appearance of the town is lovely. On my arrival, the sky, with a few flakes of snow floating negligently over its surface, was tinged with the sweetest blue; a white line, similar to that traced by a diamond upon glass, cut the limpid surface of the Loire, and was formed by a tiny cascade proceeding from one of the sand-banks so frequent in the bed of this river. In the clear air, Saint Gatien reared its brown profile and Gothic spires, ornamented with balls and roundings similar to those of the steeples of the Kremlin, giving to the city a most romantically Muscovite air; a few other towers and spires, belonging to churches the names of which I do not know, completed the picture; while numerous vessels, with their white sails, floated, like so many sleeping swans, upon the azure bosom of the stream. I should have liked to have paid a visit to the house of Tristan l'Ermite, the terrible gossip of Louis XI., which is still in a marvellous state of preservation, with its horribly significant ornaments, composed of coils of rope, entwined with other instruments of torture; but I had not time; I was obliged to content myself with the Grande Rue, which must be the pride of the inhabitants of Tours, and which aspires to the rank of another Rue de Rivoli.

Châtellerault, which enjoys a high reputation for the article of cutlery, possesses nothing particular except a bridge, ornamented at each extremity with old towers, which present a most charmingly feudal and romantic appearance. As for its manufactory of arms, it is a large white mass, with a multitude of windows. Of Poitiers, having passed through it in a beating rain, and a night as dark as pitch, I can say nothing, except that it is paved in the most execrable manner possible.

At break of day, the coach was traversing a country wooded with trees of an apple green planted in a soil of the brightest red, and producing a very singular effect. The houses were covered with tiles ridged after the Italian fashion; these tiles, too, were staring red, a colour which appears very strange to eyes accustomed to the brown and sooty roofs of the houses of Paris. From a piece of eccentricity, of which I forget the motive, the builders of those parts commence at the roofs of the houses; the walls and foundations follow. They place the framework upon four strong beams, and the tilers perform their portion of the work before the masons.

It is about this spot that the long orgy of stone commences, which ends only at Bordeaux. The smallest hut, without doors or windows, is of stone; the walls of the gardens are formed of large blocks placed one above the other without mortar; along the road, by the side of the doors, you perceive enormous heaps of superb stone, with which it would be easy, at a trifling expense, to build new Chenonceaux and Alhambras. The inhabitants, however, are contented with piling them in squares, and surmounting the whole with a cover of red or yellow tiles, the different forms of which compose a festoon of a tolerably graceful effect.

The town of Angoulême, queerly perched on an extremely steep hill, at the foot of which the Charente turns two or three babbling mills, is built in the same manner. It has a kind of second-hand Italian look, which is increased still more by the thick masses of trees which crown its rugged eminences, and a tall parasol-shaped pine, like those of the Roman villas. An old tower, which, if my memory does not deceive me, is surmounted by a telegraph (many old towers have been saved by a telegraph), imparts a tone of severity to the general aspect of the town, and renders it a tolerably imposing object on the edge of the horizon. While toiling up the ascent, I remarked a house daubed externally with rude frescoes representing something like Bacchus, Neptune, or perhaps Napoleon. As the artist forgot to paint the name underneath, every supposition is admissible and capable of being defended.

As yet, I confess that an excursion to Romainville or Pantin would have been quite as picturesque. Nothing can be more flat, more inane, more insipid, than these interminable strips of ground, similar to the little bands with which lithographers enclose all the Boulevards of Paris in one sheet of paper. Hedges of hawthorn and consumptive-looking elms, consumptive-looking elms and hedges of hawthorn, with, a little further on, a row of poplars, resembling a number of green feathers stuck in a flat soil, or perhaps a solitary willow, with its deformed trunk and powdered wig, compose the landscape; while, for figures, you have that of some pionnier, or cantonnier, as sunburnt as a Moor, leaning upon the handle of his long hammer as he looks at you pass by, or else some poor soldier rejoining his regiment, and sweating and staggering under his harness. Beyond Angoulême, however, the physiognomy of the soil changes, and you begin to feel that you are at a certain distance from the suburbs of the Capital.

It is on leaving the Department of the Charente that the traveller meets with the first of the Landes, those monster patches of grey, violet, and bluish land, diversified with undulations of various depths. A kind of short and scanty moss, red-tinged heather, and some dwarf broom compose all the vegetation. The desolation is that of the Egyptian Thebaid, and every minute you expect to see a file of dromedaries and camels; it seems as if the spot had never been pressed by the foot of man.

After traversing the Landes, you enter a tolerably picturesque region. Here and there along the road are groups of houses, concealed like birds' nests in the thickets. These houses remind one of the pictures of Hobbema, with their large roofs, their walls over-run with wild vine, their well-grown wondering-eyed oxen and their poultry foraging on the dung-hills. All the houses, by the way, as well as the garden walls, are built of stone. On every side are to be seen the beginning of buildings afterwards abandoned out of pure caprice, and recommenced a few paces further on. The inhabitants almost resemble children when they get a birthday present of a "box of bricks," with which, by the aid of a certain number of square-cut pieces of wood, all sorts of edifices may be constructed. They unroof their houses, remove the stones, and with the very same ones build another edifice of a totally different character. On the road-side are blooming gardens, surrounded by fine trees with beautifully fresh foliage, and variegated with peas in blossom, daisies, and roses; the eye at the same time roaming over meadows, where the cows are almost hidden by the grass which reaches to their breasts. A cross path all redolent of hawthorn and eglantine, a group of trees, beneath which is seen an empty wagon, a country-girl or two, with their spreading caps like the turban of the Turkish Ulemas, and with their narrow yellow skirts, offer a thousand little unexpected details which charm the eye and diversify the route. By slightly glazing the scarlet tint of the roofs with a little bitumen, you might think yourself in Normandy. Flers and Cabat would here find pictures ready made to their hand. It is about this latitude that the "berets" begin to show themselves. They are all blue, and the elegance of their form is greatly superior to that of the hat.

Hereabouts, too, the first vehicles drawn by oxen are to be met with. These wagons have rather a Homeric and primitive appearance. The oxen are harnessed by the head to a common yoke covered with a small head-piece of sheepskin. They have a mild, grave, and resigned look, which is pre-eminently sculptural, and worthy of the Elginetic bas-reliefs.

Most of them wear a covering of white cloth, which serves as a protection against the flies and other insects. Nothing is more singular than to see these oxen, dressed en chemises, raise towards you their humid and lustrous muzzles and their large deep blue eyes, which the Greeks, who were certainly judges of beauty, thought sufficiently remarkable to furnish the sacramental epithet of Juno —Boopis Ere.