Chapter 13

The detached dovecot is seen in almost every old manorial garden. Although pigeons are seldom kept in it, the structure has been preserved because of its usefulness for various purposes and the solidity of its masonry. In some of them is to be seen the old spiral ladder or staircase winding like a serpent round the interior wall from the ground to the domed or pointed roof. By means of this ladder the pigeons could be easily taken from their nests as they were wanted. These great dovecots are an interesting remnant of feudalism. Down to the Revolution the right of keeping pigeons was still a _droit seigneurial_. To those who enjoyed the privilege, the business was therefore a profitable one, for the birds fed largely at other people's expense.

It is rare to find the ancient walls and towers which stud the hills that rise above these valleys in the hands of families who owned them even in the last century. Terror of the Revolutionists caused most of the small nobility of the country to forsake their homes and lands, which were consequently sold by the State _révolutionnairement_, and they who acquired them were thrifty, sagacious people of the agricultural, mercantile, or official class, whose political principles bent easily before the wind that was blowing, and whose savings enabled them to profit by the misfortunes of those who had so long enjoyed the advantages of a privileged position. The descendants of the men who seized their opportunity, and who purchased the estates of the refugees--often at the price 'of an old song'--generally cultivate anti-Republican politics, for they have the best of reasons to be suspicious of the 'great and glorious principles' by virtue of which property was made to change hands so unceremoniously at the close of the last century.

The present owners of most of the country houses in Périgord, whether they belong to the old families or the new families, whether they put the noble particle before their names or not, have very much the same habits and manners. Not a few of them have never been to Paris, and in speech they often use old French forms, which sound strange in the ears of the modernized society of the North. Although the accent is often drawling or sing-song, their language is more grammatically correct than that now ordinarily used in conversation. They observe the true distinction of the tenses with an exactitude that sounds stiff and pedantic to those French people who move about, and who consider that they live in the 'world.' To the unprejudiced foreigner, however, it is not unpleasant to hear this old-fashioned literary French spoken in an easy, simple manner that removes all suspicion of affectation.

In the relations of master and servant, something of the old régime still survives. The master still says _tu_ and _toi_ to his servant; but if the latter were to take the liberty of replying with the same pronoun, his insolence would be considered quite unpardonable. And yet no people appear to be troubled less with false pride than the class of whom I am speaking. Relatively large landowners, whose names count for a good deal in the district, think there is nothing derogatory in sending a maidservant to market to sell the surplus fruit and eggs. Those who buy are equally practical. They haggle over sous with their friends' servant just as if she were a peasant driving a bargain on her own account. It is the exception, however, when to this keen appreciation of money warm-hearted hospitality and disinterested kindness are not joined.

There was a château combining the country house, the farm, and the ruin on the summit of the steep hill that rose above our little island just beyond the river. It often tempted me to climb to it, and one day at the end of summer I wended my way up the stony path. I met with that courteous reception which so rarely fails in France to place the visitor completely at his ease. I was surprised to find how extensive the ramparts were, and how easily the castle behind the modern house could have been rendered habitable. But all the windows were open to the weather. A Gothic chapel with groined vaulting at the base of one of the towers had been turned into a coach-house. Following an old servant who carried a lantern along a dark passage leading to an _oubliette_, I saw what looked like a large cattle trough, and inquired the use of it in such a place. It was put to no purpose now, was the reply, but it was intended for keeping a whole bullock in salt. In the tumultuous ages it was always necessary to be prepared to take immediate measures in view of a siege, and at no period more than during the wars of religion, when the owners of these castles, whether they were Huguenots or Catholics, had to be continually on the alert. When there was fighting to be done, a salted bullock gave less trouble than a live one.

The old man, having tied a string to the top of the lantern, let it down through the round hole of the _oubliette_ until it touched the ground many feet below. Then he told me that, when the dungeon was discovered years ago, immediately beneath the opening an old tree was found stuck about with rusty blades and spikes, with their points turned upwards. This story was confirmed by others.

In the garden on the edge of the cliff the myrtle flourished in a little Provence sheltered from the cold winds; the physalis--beautiful southern weed--now laid its large bladders of a vivid scarlet along the edges of the paths, and the walls flamed with the red fruit of the pomegranate.

The most important feudal ruin in this district is that of the Château de Grignols, the cradle of the Talleyrand family. It was raised by Hély Talleyrand, Seigneur de Grignols, at the close of the twelfth century. Much of the outer wall and a few fragments of the interior buildings remain.

I lived a good deal upon the water when I was not in my hermitage under the trees or wandering across country. I found in the water an ever-growing interest and charm. It often drew me from my work, for my canoe was on the canal only a few paces from my dwelling. On each side the high banks were glorious with their many-coloured clothing of summer flowers. There were patches of purple thyme, of blue stachys, and yellow gallium; there were countless spikes of yellow agrimony and heads of wild carrot, and white ox-eyes looked out from amidst the long grasses like snowflakes of summer. Near the water's edge, mingling with sedges, flags, marsh-mallows, bur-reed, and alisma, were the golden flowers of the shrubby lysimachia in dense multitudes, while from the canal itself rose many a spike of water-stachys, with here and there blossoming butomus, near the fringe of the banks. Then there were the pond-weeds, and other true water-plants, whose summer luxuriance nearly stopped the navigation of the canal, and whose pollen in July, collecting near the locks, lay there upon the water like a thick scum. As my little boat moved over them, I could note all the wondrous beauty and delicacy of the strange foliage that lives below the air, and preserves so much of the character of the earliest vegetation of the earth.

It is twilight, and I am paddling up to the river, gliding now along by one bank and now by another. A humming-bird moth, that seems to have been just created, for the eye cannot follow its movement in the dusky air, appears suddenly upon the topmost flower of a stachys, and in another moment it has vanished. Upon the broader and more open river the day appears to revive. There is a faint lustre upon the distant chalky hills and their corn-fields that rise against the quiet sky. But the pale moon just above them is brightening; already the rays are glinting upon the water. A little later the boat is moving up a long brilliant track, where small waves lap and quiver like liquid fire. It is now night, and the forms of the alders in the air and on the water have become weird and awful. I often come alone at this hour, or later, to be filled with the horror of them. There is a strong fascination in their terrible and fantastic shapes, which may be because the sublime and the horrible are so thinly separated. Rarely does the same tree wear the same ghostly appearance when seen a second time, and a shape that may seem to one person appallingly life-like may convey no meaning to another.

Had the gendarmes met me while water-wandering at night, they would certainly have concluded that I was a fish-poacher. All fishing by night in French rivers and streams is illegal, but it is much practised notwithstanding.

There are many carp in the Isle, weighing from fifteen to twenty pounds, but they are very rarely caught. The river is full of very deep pools, caused by the washing away of the sand down to the solid rock, and the carp seldom get within reach of a net except when they are stirred up and washed out of their lairs in time of flood. Then, when an old fish gets entangled in a net, it is almost certain to break through it, so that it is not with a feeling of pure pleasure that the fisherman recognises by the weight and tug that he has thrown his meshes over one of these monsters. Nor does any better success attend the angler--at all events, the angler who is known in these parts. It is quite an extraordinary event when a carp weighing more than five pounds is taken with the line. The bait commonly used is boiled maize or a piece of boiled chestnut. There is another method of hooking these fish which I have seen practised on the quays at Périgueux. The fisher has a very strong rod, and also a strong line many yards long, at the end of which is fastened, not a bait, but a piece of lead two or three inches in length. To this large hooks are fixed, which barbs turned in all directions. The man, whose eyes have become very keen with practice, sees some carp coming up or going down the stream, and, throwing the plummet far out into the river, he draws it rapidly through the water, across the spot where he believes the fish then to be. It is not often that he feels a tug, but he does sometimes, and then follows a deadly struggle, which may result in his landing a splendid carp that is worth more than he might earn by any other industry in two days.

Among the peasants in this part of Périgord there is a deeply-engrained superstitious horror of what is called a _rencontre_. If a person falls suddenly ill, especially if his sickness be not a familiar ailment, he will begin to probe his memory, and to ask himself if he has lately sat upon a stone or the stump of a tree. If he remembers having done so, he murmurs, unless he should be free from the popular superstition, 'Ah! I thought so. This is a _rencontre!_'--by which he means that he has met one of the three unholy reptiles, the snake, the toad, or the lizard, although it was hidden under the stone or stump.

'Marie,' said I to an old farm woman who was hobbling about with a rheumatic leg, 'what is the matter?'

Oh, mossieu,' said she, 'it's a _rencontre_. I sat down the other day upon a stone.'

This made me inquire what was meant by a _rencontre_.

I will only set down a few impressions of Périgueux, there being already quite enough written respecting the ancient capital of the Petrocorii. The upper part of the town commands a pleasant view of the valley of the curving Isle, with the wooded hills that lead away towards the upper and wilder country of Périgord; but it is in the lower town near the river, where the odours are strong, that the interest really lies. Here is the cathedral of St. Front, a church in the Byzantine style of the tenth century, and closely imitated from St. Mark's at Venice. It is impossible to see it now, however, without regret and disappointment. In many it stirs both sorrow and anger. It is no longer one of the most precious monuments of old France. What we see now on the site of St. Front is a new church, scrupulously rebuilt, it is true, according to the original plan, and with a great deal of the original material, but its interest is that which belongs to a model: its venerable character, with all the associations of the past, is gone. Whether those responsible for the complete demolition of the ancient structure when it threatened to fall and become a heap of ruins were right or wrong in their decision is a technical question on which very few persons are now competent to give an opinion. The plan of the church is a Greek cross, and, like St. Mark's and St. Sophia's, it has five domes; but the building has, nevertheless, a feature of its own which makes it one of the most original of churches. It possesses a Byzantine tower.

In common with many towns of Southern France, Périgueux shows remarkable vestiges of different races and dominations. Remnants of Roman or Gallo-Roman architecture stand with others that belong to the dawn of mediaeval art, and others, again, that are marked by the florid and graceful fancy of the Renaissance. The ruins of the amphitheatre are insignificant compared to those at Nimes and Arles, and there is no beautiful example of Roman art like the Maison Carrée at Nimes; but there is an exceedingly curious monument of antiquity, which was long a puzzle to archaeologists, but which is now generally believed to be the _cella_ of a Gallo-Roman temple dedicated to the city's tutelary divinities. It is called the Tour de Vésone, and, indeed, it was supposed for centuries to have been originally a tower. Its cylindrical shape and its height (ninety feet) give it all the appearance of one. It is built of rubble, faced inside and out with small well-shaped stones, and has chains of brick in the upper part. The circle of the tower is no longer complete, for about a fourth of the wall has been broken down from top to bottom. The ground is strewn with fragments of immense columns and entire capitals, some Corinthian, others Tuscan. These, doubtless, were parts of the peristyle, which, with the exception of such scattered fragments, has quite disappeared. There is something decidedly barbaric in the fantastic structure that has come down to us, and it is difficult to understand the motive of its height. Such a cylinder rising far above the peristyle could not have had a classic effect. This ruin stands in an open field, and the foulness of the spot, although quite in accordance with the Southern manner of showing respect for antiquities, is nevertheless a disgrace to the ideals of modern Vesunna.

Another curiosity of the lower town is the ruin of a very early mediaeval castle, said to have been built by Wulgrin, surnamed Taillefer, the first of the hereditary Counts of Périgord. Close to this picturesque ruin is one of the ancient gateways of the town. It goes by the name of La Porte Normande, but its slightly pointed arch disposes of the suggestion that the Normans were in some manner concerned in its construction.

What interested me most at Périgueux was something that very few strangers, or even townspeople, for that matter, ever see, because, it is hidden from public view. This is a considerable fragment of one of the early walls of the town, which, tradition says, was thrown up in great haste at the approach of the Normans during one of the incursions of these adventurers up the valley of the Dordogne and, its tributary, the Isle, in the tenth century. It is a bit of wall that speaks to us in a language by no means common. It is not built of stones such as could be found anywhere in all ages, but is put together with the fragments of temples and palaces which even now tell of the power and splendour of Rome. The shafts of fluted columns, capitals wearing the acanthus, pieces of cornice and frieze, all mortared together with undistinguishable rubbish, bear testimony in the quiet garden of the Ursuline convent to the vanity of human works. Vesunna, splendid city of Southern Gaul, completely Latinized, with native poets, orators, and historians speaking and writing the language of Virgil and Cicero, raised temples, palaces, thermae, and a vast amphitheatre to be used centuries later as material for building a wall to keep out the Northern barbarians!

FROM PÉRIGUEUX TO RIBERAC (BY BRANTÔME).

From Périgueux I made my way to Brantôme in the neighbouring valley of the Dronne--a tributary of the Isle, which nobody who has not stifled the love of beauty in his soul can see without feeling the sweet and winning charm of its gracious influence. Between the two valleys are some fifteen miles of chalky hills almost bare of trees, a dreary track to cross at any time, but especially detestable when the dust lies thick upon the white road and the summer sun is blazing overhead. But how delightful is the contrast when, going down at length from these cretaceous uplands, where even the potato plants look as if they had been whitewashed, you see below the verdant valley of the Dronne, that seems to be blessed with eternal spring, the gay flash of the winding stream, the grand rocks that appear to be standing in its bed, and the cool green woods that slope up to the sky beyond! The pleasure grows as you descend, and when at length you reach the little town you are quite enchanted with the grace and elegance, the poetic and romantic charm, of the scene. Although the church, with its tower half built upon a rock, dates from the eleventh and twelfth centuries, the influence of the sixteenth century is so strong that no other is felt. The eye follows the terraces with graceful balustrades in the shadow of old trees, dwells on the fanciful Renaissance bridge, that looks as if its first intention was to span the stream in the usual manner, but, having gone some distance across, changed its mind, and turned off at an abrupt angle; then the little pavilion in the style of Francis I., connected with a machicolated gateway, fixes the attention. There is something in the air of the place which calls up the spirit of Shakespeare, of Spenser, and of all the poets and romancers of the sixteenth century; you feel that everything here belongs to them, that you are in their world, and that the nineteenth century has nothing to do with it. Upon these balustraded terraces, beside the limpid river full of waving weeds, you can picture without effort ladies in farthingales and great ruffs, gentlemen in high hose and brilliant doublets; you can almost hear the lovers of three centuries ago kissing under the trees--lovers like Romeo and Juliet, who kissed with a will and meant it, and who were afraid of nothing. But Brantôme has clearer and more precise associations with letters than such as these, which belong purely to the imagination. Its name has been inextricably entangled with literature by Pierre de Bourdeilles, Seigneur de Brantôme, author of the famous and scandalous 'Mémoires'--terrible chronicles of sixteenth-century venality, intrigue, and corruption, written in a spirit of the gayest cynicism. Brantôme--he is known to the world by no other name now--was the spiritual as well as the temporal lord here, for he was abbot of the ancient abbey which was founded on this spot in the eleventh century or earlier. His ecclesiastical function, however, was confined to the enjoyment of the title and benefice, for if ever man was penetrated to the marrow by the spirit of worldliness, it was Pierre de Bourdeilles. What he has written about the women of his time is something more than the critical observations of a chronicler who was also a caustic analyst of the female character. Such was his cynicism that he, the Abbot of Brantôme, laughed in his sleeve at the horrible strife of Catholics and Huguenots in his own and neighbouring provinces. It is true that he fought at Jarnac against Coligny, but the admiral had met him in the court of the Valois before these wars, and knew him to be an _abbé joyeux_, without prejudices, if ever there was one. The astute chronicler played his cards so well as to keep on safe terms with both sides, and it was by this diplomacy of their lord and abbot that the inhabitants of Brantôme escaped the sword and the rope when Coligny and his terrible German mercenaries entered the weakly-defended place on two occasions in 1569. On the first of these Coligny was accompanied by the young Henry of Navarre and the Prince of Orange. They were all made very welcome by Brantôme, and treated by him with 'good cheer' in his abbey. He was rewarded for his diplomatic talent, for he tells us that no harm was done to his house, nor was a single image or window broken in the church. No doubt he had turned to good profit his distant relationship with Madame de Coligny. On the second occasion the admiral merely hurried through Brantôme with his _reîtres_ in full flight after the bad defeat at Montcontour.

The abbey church of Brantôme is not without beauty, but it is the tower that is the truly remarkable feature. It was raised in the eleventh century, and although the architect--probably a monastic one--observed the prevailing principle of Romanesque taste, he showed so much originality in the design that it served as a model, which was much imitated in the Middle Ages. It is not only one of the oldest church towers in France, but its position is one of the most peculiar, it being built, not on the church, but behind it, and partly grafted upon the rock.

Of the old abbey little remains; but there is a cavern, formerly in communication with the conventual buildings, which contains sculptures cut upon the rock in relief, which are a great curiosity to ecclesiologists. They are the work of the monks, who used this old quarry as a chapel, and, it would appear, likewise as an ossuary in a limited sense, if the rows of square holes cut in the rock were to serve as niches for skulls, as some have maintained. One of the compositions in relief has given rise to discussion among archaeologists. The first impression that it conveys is that of an exceedingly uncouth representation of the Last Judgment, but the Marquis de Fayolle's explanation, namely, that the idea which the sculptor-monk endeavoured to work out here was the triumph of Death over Life, meets with fewer objections. There are three figures or heads symbolizing Death, of which the central one wears a diadem that bristles with dead men's bones. Immediately below is Death's scutcheon emblazoned with allegorical bearings. On each side of this is a row of heads rising from the tomb, in which a pope, an emperor, a bishop, and a peasant are to be recognised. In the middle part of the composition are two kneeling angels blowing trumpets, and above these is a vast and awful figure, apparently unfinished, and scarcely more human in its shape than some stalagmites I have met underground. Are we to see here the Eternal Father, or Christ sitting in final judgment? It depends upon the interpretation placed upon the work of the monk, who, with slow and painful effort, gave fantastic life to his solemn thoughts in the gloom of this old quarry, from which stone had been taken to build the church. He was a rude artist, such as might have belonged to the darkest age, but certain ornamental details of the bas-relief indicate that he was a man of the sixteenth century. The walls of the cavern have been blackened by the damp, and these awful shapes reveal themselves but slowly to the eye, so that they look like a vague and dreadful company of ghosts advancing from the darkness.