No less delightful10 is the walk to La Cluse alongside the lake, an umbrageous11 avenue, the shadows of which are grateful this hot June-like October day. Through a light screen of foliage12 you look across the blue waters upon bluer hills, and still bluer sky. Nantua, in spite of its smiling appearance, is inevitably13 doomed14 one day to destruction, Straight over against the town impends15 a huge mass of loosened rock, which, so authorities predict, must sooner or later slide down, crushing any thing with which it comes in contact. People point to the enemy with nonchalance16, saying, "Yes, the rock will certainly fall at some time or other, and destroy a great part of the town, but not perhaps in our time." Be this as it may, the gigantic fragment of rock hanging so menacingly over Nantua, is a curious object of contemplation.
I fell into conversation with two nuns17 belonging to the Order of St. Charles, and I wish I could delineate the hideousness18 of their costumes, and the unmitigated ugliness of their general appearance. Their dress consisted of a plain black gown with round cape19 and close fitting hood20, on each side of which projected black gauze flaps extended on wires, shading their withered21, ill-favoured countenances22, and making them look indeed more like female inquisitors, ogres, or Witches of Endor than human beings. I never saw human nature made so uninviting, and I could fancy the terror inspired by these awful figures, with their bat-like flaps, in the tender minds of the little children entrusted23 to their care. It was edifying24 to hear these holy women discourse25 upon the Paris Exhibition, which it is hardly necessary to say the clerical party throughout France was bound to consider a failure. Alike the highest and the lowest, bishop26 and parish priest, were determined27 in their own minds that the Exhibition, as a display of rehabilitated28 France under a Republican Government, should fail altogether, and come to some conspicuously29 bad end. The very reverse had happened, yet here were two women of age, experience, and some intelligence coolly talking of this terrible failure of the Exhibition, financially and otherwise, the bad effect upon trade generally, and so forth31.
I take the railway from Bourg to La Cluse, a mile from the town, and a marvellous piece of railway engineering is this short journey, veritable Alpine33 ascent34 in a railway-carriage, scaling perpendicular35 mountain sides by means of the steam-engine! The train curls round the mountain as the Jura roads are made to do, high above an awful gorge, in the midst of which runs the River Ain, emerald-green irradiated by diamond-like flashes of cascade36 and torrent37. When we have accomplished38 this aerial bit of travel—it is very like being up in a balloon—we suddenly lose alike mountain, river, and ravine, all the world of enchantment39 in which I had been living for weeks past, to find ourselves in the region of prose and common-place! In other words, we were in the wide, highly cultivated plain of La Bresse. At Bourg-en-Bresse I halted, as everyone else must do, in order to see its famous Church of Brou. The Church was built in consequence of a vow40 made by Margaret of Burgundy, that if her husband, Philibert the Second, Duke of Savoy, was healed from injuries received in the hunt, she would erect41 a church and found a monastery42 of the Order of St. Béno?t. The Duke recovered, but his wife died before accomplishing her work, which was, however, carried out by her daughter-in-law, Margaret of Austria, wife of Philibert le Beau. She summoned for this purpose all the best artists of the time to Bourg, and the church begun in 1506 was finished in 1532, under the direction of Loys von Berghem.
This spirited and imperious Margaret of Austria, known as Margot la Flamande, played an important part in history, as readers of Michelet's eloquent43 seventh volume know. She adored her second husband, the handsome Philibert, and owed all her life a grudge44 against France, on account of having been, as a child, promised in marriage to Charles VIII., and afterwards supplanted45 for political reasons by the no less imperious Anne of Brittany. Aunt and first instructress of Charles V., King of Spain and Emperor of Germany, she is regarded by Michelet as the founder46 of the House of Austria, and one of the chief agents in humiliating France by means of the Treaty of Cambrai. Margaret of Austria, Anne of Brittany, Louise of Savoy, mother of Francis I., writes the historian, "cousant, filant, lisant, ces trois fatales Parques ont tissu les maux de l'Europe" (sewing, spinning, reading, these three fatal Parcae were the misfortune of Europe), and the student of French history will follow the career of all three with interest after the clue here given them. Margaret, bitter, vindictive47, and designing, seems to have had one poetic48 thread in her life only, namely, her passion for her husband, whose beauty lives in marble before us.
The Church of Brou—magnificent case for these gems49 of monumental art—cost seven millions of francs, and the combined labours of the best living architects and artists of the time, may be considered as the last efflorescence of Gothic architecture, for the spirit of the Renaissance51 was already making itself felt. It is less, however, the church, in spite of its rich exterior52 and elegant proportions, that travellers will come to see than the exquisite mausoleum of the choir53, each deserving a chapter to itself. You quit the quiet old-fashioned town of Bourg, and after a walk of twenty minutes, come suddenly on the church, standing54 in the suburb, or as it seems, indeed, in the open country. A sacristan is at hand to unlock the door of the choir, but it is best to give him his fee in advance, and tell him to return in an hour; generally speaking, other strangers are coming and going, in which case such a precaution is not necessary, but it is impossible to enjoy this artistic55 treat with a guide hovering56 about you, doling57 out pieces of stale information, and impatiently awaiting to be paid. The choir is screened off from the nave58 by a rich, although somewhat heavy rood-loft, and great is the contrast between the two portions of the church; in the first, all is subdued59, quiet in tone, and refreshing60; in the last, the eye is troubled by too much light, there is no stained glass to soften61 down the brilliant sunshine of this fine October day, and, although the architectural proportions of the entire building are graceful62 and on a vast scale, the beholder63 is much less delighted than he ought to be on this account. In fact the effect is dazzling; but how different are our sensations when once on the other side of the richly sculptured rood-loft! Here the impression is one of peerless beauty, without a shadow of disillusion64 or the slightest drawback to aesthetic65 enjoyment66, except one, and that very trifling67. These three mausoleums are so well defended against possible iconoclasts68 that the thick, closely set iron bars almost prevent us from seeing the lower part of the three tombs, and, in two cases, these are as interesting as any. Surely in the present day such measures are unnecessary! It may be mentioned that the church and tombs narrowly escaped destruction during the great Revolution, and the world is indebted for their safety to the public spirit of one of the civil authorities, who filled the interior with hay, securely fastened the doors, and put outside the conspicuous30 inscription69: Propriété Nationale. But for these prompt measures, the beautiful and unique treasures contained in the Church of Brou would, without doubt, have shared the fate of so many others during that awful epoch70.
The three tombs are those of Philibert le Beau, Duke of Savoy, of Margaret, Duchess of Burgundy, his mother, and of Margaret of Austria, his wife. They are chiselled71 in Carrara marble, and are the combined work of Michel Colomb, Jean Perreal, called Jean de Paris, and Conrad Meyt. [Footnote: Consult on this subject "Monographie de l'Eglise de Brou," par9 MM. Didron et Dupasquier.] The central tomb is that of Philibert, who, like his wife, is represented twice, the upper figure that of the Duke when alive, the lower delineating death. This monument is perhaps the most splendid of all, although there are especial beauties to be found in the other two, and each is deserving of long and careful study.
Above, therefore, we have the Prince in all the glory of life and pomp of state; below, in the cold bareness and nakedness of death, a contrast highly artistic and touching72 at the same time. The iron rails already alluded73 to only hide the lower division of the tomb, so that we see the upper part in all its splendour. The Prince, wearing his ducal cap and dress, reposes74 on a couch, the cushion supporting his head being covered with delicate sculptures, his feet resting on a lion recumbent, his hands clasped, his face slightly turned towards Margaret of Austria, his wife. On each side, little lovely naked boys, geniuses, loves, cherubs—call them what we will—support his helmet and gloves, and charming statuettes after the same dainty pattern stand at each corner of the sarcophagus supporting his shield and various pieces of armour75. Underneath76, on a slab77 of black marble, lies the figure of the dead Prince, the finely modelled limbs only partially78 draped, the long hair curling round the bare shoulder, the beautiful face turned, as in the first instance, towards the image of his wife—pose, expression, design, all combining to make up an exquisite whole. This second figure is a master-piece, and no less masterly are the Sibyls and other figures which surround it, each statuette deserving the most careful study, each, in fact, a little gem50. The frame-work of this noble monument is of rich Gothic design, too elaborate, perhaps, to please the fastidious critic, but deliciously imaginative, and finished as far as artistic finish can go. To the right of the Prince is the tomb of Marguerite of Burgundy, his mother, a hardly less sumptuous79 piece of work than the first, and superbly framed in by Gothic decorative80 sculptures, statuettes, arabesques81, flowers, and heraldic designs. The little mourning figures or pleureuses, each in its graceful niche82, are wonderfully beautiful, and for the most part veiled, whilst the artist's fancy has been allowed to run riot in the ornamentation surrounding them. The Princess wears her long ducal mantle84 and crown, and at her feet reposes a superb greyhound. The third tomb, that of Marguerite of Austria, the wife of Philibert, is in some respects the richest of the three, being almost bewildering in elaborateness of detail and abundance of ornament83. It is divided into two compartments85; in the upper, we have the living figure of a beautiful woman in the flower of life, richly dressed; in the lower, we have the same after death, the long hair rippling86 in curls to her waist, the slender feet showing from under the drapery, the expression that of majestic87 calm and solemnity. We have here the simplicity88 and nakedness of death in close proximity89 with the gorgeousness and magnificence of art—art under one of its most sumptuous aspects, art in its fullest and most poetic moods. All thoughtful observers must come to the conclusion that lovely and artistic as is the frame-work of this last figure, each tiniest detail being a marvel32 both of design and execution, it is, perhaps, not quite in harmony with the rest. It is, indeed, somewhat overcharged with ornament. Be this as it may, the mausoleums in the Church of Brou will ever remain in the memory as one of those exquisite and unique art experiences that form an epoch in our inner history. For what, indeed, avails art at all, if it is a thing of minor90 importance in life, a half joy, a half consolation91, a second or inferior impression to be effaced92 by anything new that comes in our way? It was pitiable to see parties of two or three French tourists rush into the choir with the sacristan, spend five minutes in glancing at the treasures before them, then hurry away, not dreaming of what they have failed to see, only dimly conscious of having seen something. It is curious that in 1856 the lead coffins93 containing the remains94 of Philibert and the two Duchesses were discovered in a crypt under that part of the choir where the mausoleums stand. The inscriptions95 on all three were perfectly96 legible, and left no doubt as to identity; the skeletons were placed in new coffins, and re-interred with religious ceremony. Other crypts were discovered, but these had evidently been spoliated.
Before quitting these mausoleums and their exquisite possessions of pleureuses, geniuses, Sibyls, and the rest, it may be worth while to remind the reader that, according to the most learned of the Romans, there were ten Sibyls, viz.:—1. Persica, 2. Libyssa, 3. Delphica, 4. Cumaea, 5. Erythraea, 6. Samia, 7. Cumana, who brought the book to Tarquin, 8. Hellespontica, 9. Phrygia, 10. Tiburs, by name Albunea, worshipped at Tiber as a goddess. Thus Varro categorizes the Sibyls, and besides these we hear of a Hebrew, a Chaldaean, a Babylonian, an Egyptian, a Sardian Sibyl, and some others. Other writers considerably97 reduce this number, three being that most usually accepted, and Salmasius, the most learned man that ever lived, summed up the various theories concerning these mysterious beings with the words: "There is nothing on which ancient writers more widely differ than as to the age, number, and country of the Sibyls."
There is little to see in the Church of Brou besides these mausoleums, and nothing in Bourg itself, except the fine bronze statue to Bichat, by David d'Angers. The great anatomist is represented in the act of oscultation, the patient being a child, standing between his knees. It is a monument alike worthy98 of the artist and his subject, another instance of that dignified99 realism for which David d'Angers was so remarkable100. There is, however, some doubt as to Bichat's birth-place; Lons-le-Saunier, as I have before mentioned, contesting the honour with Bourg. On the principle that two monuments to a great man are better than none at all, each place claims the honour.
The night mail-express from Geneva whirled me in about ten hours to Paris, and the next morning I found myself in what, after the matchless atmosphere of the Jura, seemed murkiness101, although the day was fine and the sky cloudless. I had thus, with hardly an important deviation102 from the plan originally laid down, accomplished my journey in Eastern France, but with a success, in one respect, impossible to anticipate. Accustomed as I am to French amiability103 and hospitality, I was yet unprepared for such a reception as that accorded to me throughout every stage of my travels. All hearts were open to me; everyone wanted to do the honours of his beloved "patrie"—using the word in its local rather than national sense—to be serviceable, kind, accommodating. Thus it happened that my holiday rambles104 in Franche-Comté were so far novel, that they may be said to have been accomplished without hotels or guidebooks; for the most part, my time being spent in friends' houses, and my itineraries105 being the best possible, namely, the oral information of interested natives of every place I passed through. This is, indeed, the way in which all countries, and especially France, should be seen, for, without a sympathetic knowledge of her people and their ways of life, we lose the most interesting feature in French travel. Travellers who only see the outside of things in foreign countries, indeed, may be compared to those who gaze upon a skeleton, instead of the living form, warm with life, sympathy, and beauty. Old France, as studied in her glorious monuments, whether Gallic, Merovingian, Mediaeval, or Renaissance, pales in interest before the New, that France which alone has taught the world the lesson of Equality, and is teaching us every day what misfortunes may be overcome by a noble people, inspired with true patriotism106, allied107 to democratic feeling. In Republican France, now, who can doubt? and I am all the more thankful here to be able to bear witness to the unanimity108, prosperity, and marvellous development found in the different strata109 of French social life. There are, without doubt, blots110 on this bright picture; but none can deny that the more we learn to know France the more we admire and love her, and that, if the richest and most beautiful country in the world, it is also the one in which happiness and well-being111 are most generally diffused112. We are accustomed to regard France in the light of a parable113 to other nations, but, if her sorrows and retributions have taught them much, at least her successes and triumphs have taught them more. She has lately shown herself greater even in the hour of her prosperity than in that of evil fortune, the highest praise to be accorded alike to nations as to individuals. Honour then to all who have helped in bringing about these great results, whether in the humblest or loftiest walks of life, and may I be the means of inducing scores of travellers to follow in my footsteps, and judge for themselves whether I have drawn114 too glowing a picture! Of one thing they may be certain—namely, that they will be welcomed wherever they go, if led thither115 in a sympathetic spirit, although, perhaps, not many may have the like good fortune with myself, each stage of my journey being marked by delightful acquaintances and friendships, binding116 me still closer to La Belle117 France and her glorious Republic!
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1
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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limpid
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| adj.清澈的，透明的 | |
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allegro
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| adj. 快速而活泼的；n.快板；adv.活泼地 | |
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adagio
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| adj.缓慢的；n.柔板；慢板；adv.缓慢地 | |
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gorge
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| n.咽喉，胃，暴食，山峡；v.塞饱，狼吞虎咽地吃 | |
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transparent
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| adj.明显的，无疑的；透明的 | |
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par
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| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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umbrageous
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| adj.多荫的 | |
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foliage
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| n.叶子，树叶，簇叶 | |
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inevitably
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| adv.不可避免地；必然发生地 | |
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doomed
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| 命定的 | |
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impends
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| v.进行威胁，即将发生( impend的第三人称单数 ) | |
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16
nonchalance
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| n.冷淡，漠不关心 | |
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nuns
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| n.（通常指基督教的）修女， （佛教的）尼姑( nun的名词复数 ) | |
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hideousness
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cape
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| n.海角，岬；披肩，短披风 | |
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hood
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| n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖 | |
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withered
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| adj. 枯萎的，干瘪的，（人身体的部分器官）因病萎缩的或未发育良好的 动词wither的过去式和过去分词形式 | |
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22
countenances
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| n.面容( countenance的名词复数 )；表情；镇静；道义支持 | |
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entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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edifying
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| adj.有教训意味的，教训性的，有益的v.开导，启发( edify的现在分词 ) | |
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discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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bishop
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| n.主教，（国际象棋）象 | |
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determined
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| adj.坚定的；有决心的 | |
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rehabilitated
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| 改造（罪犯等）( rehabilitate的过去式和过去分词 )； 使恢复正常生活； 使恢复原状； 修复 | |
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conspicuously
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| ad.明显地，惹人注目地 | |
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conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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forth
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| adv.向前；向外，往外 | |
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marvel
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| vi.(at)惊叹vt.感到惊异；n.令人惊异的事 | |
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alpine
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| adj.高山的；n.高山植物 | |
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ascent
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| n.(声望或地位)提高；上升，升高；登高 | |
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perpendicular
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| adj.垂直的，直立的；n.垂直线，垂直的位置 | |
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cascade
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| n.小瀑布，喷流；层叠；vi.成瀑布落下 | |
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torrent
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| n.激流，洪流；爆发，(话语等的)连发 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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enchantment
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| n.迷惑，妖术，魅力 | |
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vow
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| n.誓(言)，誓约；v.起誓，立誓 | |
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erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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monastery
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| n.修道院，僧院，寺院 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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grudge
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| n.不满，怨恨，妒嫉；vt.勉强给，不情愿做 | |
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45
supplanted
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| 把…排挤掉，取代( supplant的过去式和过去分词 ) | |
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46
Founder
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| n.创始者，缔造者 | |
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vindictive
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| adj.有报仇心的，怀恨的，惩罚的 | |
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48
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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49
gems
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| growth； economy； management； and customer satisfaction 增长 | |
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gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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renaissance
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| n.复活，复兴，文艺复兴 | |
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52
exterior
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| adj.外部的，外在的；表面的 | |
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53
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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54
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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56
hovering
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| 鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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doling
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| 救济物( dole的现在分词 )； 失业救济金 | |
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nave
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| n.教堂的中部；本堂 | |
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subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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refreshing
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| adj.使精神振作的，使人清爽的，使人喜欢的 | |
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soften
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| v.(使)变柔软；(使)变柔和 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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beholder
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| n.观看者，旁观者 | |
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disillusion
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| vt.使不再抱幻想，使理想破灭 | |
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aesthetic
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| adj.美学的，审美的，有美感 | |
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enjoyment
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| n.乐趣；享有；享用 | |
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trifling
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| adj.微不足道的；没什么价值的 | |
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iconoclasts
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| n.攻击传统观念的人( iconoclast的名词复数 )；反对崇拜圣像者 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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epoch
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| n.(新)时代；历元 | |
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chiselled
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| adj.凿过的，凿光的； （文章等）精心雕琢的v.凿，雕，镌( chisel的过去式 ) | |
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touching
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| adj.动人的，使人感伤的 | |
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alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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reposes
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| v.将（手臂等）靠在某人（某物）上( repose的第三人称单数 ) | |
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75
armour
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| （=armor）n.盔甲；装甲部队 | |
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76
underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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partially
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| adv.部分地，从某些方面讲 | |
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sumptuous
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| adj.豪华的，奢侈的，华丽的 | |
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decorative
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| adj.装饰的，可作装饰的 | |
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81
arabesques
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| n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸） | |
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82
niche
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| n.壁龛；合适的职务(环境、位置等) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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84
mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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85
compartments
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| n.间隔( compartment的名词复数 )；（列车车厢的）隔间；（家具或设备等的）分隔间；隔层 | |
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rippling
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| 起涟漪的，潺潺流水般声音的 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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proximity
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| n.接近，邻近 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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consolation
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| n.安慰，慰问 | |
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effaced
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| v.擦掉( efface的过去式和过去分词 )；抹去；超越；使黯然失色 | |
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coffins
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| n.棺材( coffin的名词复数 )；使某人早亡[死，完蛋，垮台等]之物 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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considerably
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| adv.极大地；相当大地；在很大程度上 | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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99
dignified
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| a.可敬的，高贵的 | |
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100
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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101
murkiness
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| n.阴暗；混浊；可疑；黝暗 | |
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102
deviation
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| n.背离，偏离；偏差，偏向；离题 | |
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103
amiability
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| n.和蔼可亲的，亲切的，友善的 | |
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104
rambles
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| （无目的地）漫游( ramble的第三人称单数 )； （喻）漫谈； 扯淡； 长篇大论 | |
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105
itineraries
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| n.旅程，行程( itinerary的名词复数 ) | |
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106
patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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107
allied
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| adj.协约国的；同盟国的 | |
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108
unanimity
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| n.全体一致，一致同意 | |
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109
strata
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| n.地层（复数）；社会阶层 | |
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110
blots
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| 污渍( blot的名词复数 )； 墨水渍； 错事； 污点 | |
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111
well-being
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| n.安康，安乐，幸福 | |
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112
diffused
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| 散布的，普及的，扩散的 | |
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113
parable
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| n.寓言，比喻 | |
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114
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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115
thither
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| adv.向那里；adj.在那边的，对岸的 | |
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116
binding
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| 有约束力的，有效的，应遵守的 | |
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117
belle
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| n.靓女 | |
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