One might go on for pages about Chillon, but it has been told in detail so many times. It is the pride to-day of this shore—pictures of it are in every window—postal cards of it abound. Yet, somehow one never grows tired of it, and stops to look at every new one.
For a thousand years, at least, Chillon was the scene of all the phases of feudalism and chivalry; its history is that of the typical castle; architecturally it is probably as good an example as there is in Switzerland. It has been celebrated by other authors besides Byron. Jean Jacques Rousseau has it in his Nouvelle Héloïse, Hugo in Le Rhin, and it has been pictured more or less by most of the writing people who have found their way to Léman's pleasant shore. These have been legion. The Vevey and Montreux neighborhood has been always a place for poor but honest authors. Rousseau was at Vevey in 1732, and lodged at the Hotel of the Key, and wrote of it in his Confessions, though he would seem to have behaved very well there. The building still stands, and bears a tablet with a medallion portrait of Rousseau and an extract in which he says that Vevey has won his heart. In his Confessions he advises all persons of taste to go to Vevey, and speaks of the beauty and majesty of the spectacle from its shore.
When Lord Byron visited Lake Léman he lodged in Clarens, between Vevey and Montreux, and a tablet now identifies the house. Voltaire also visited here, lodging unknown. Dumas the elder was in Vevey in the thirties of the last century, and wrote a book about Switzerland—a book of extraordinary interest, full of duels, earthquakes, and other startling things, worthy of the author of Monte Cristo and The Three Musketeers. Switzerland was not so closely reported in those days; an imagination like Dumas' had more range. Thackeray wrote a portion of the Newcomes at the hotel Trois Couronnes in Vevey, and it was on the wide terrace of the same gay hostelry that Henry James's Daisy Miller had her parasol scene. We have already mentioned Laurie and Amy on the wall of Tour de Peilz, and one might go on citing literary associations of this neighborhood. Perhaps it would be easier to say that about every author who has visited the continent has paused for a little time at Vevey, a statement which would apply to travelers in general.
Vevey is not a great city; it is only a picturesque city, with curious, winding streets of constantly varying widths, and irregular little open spaces, all very clean, also very misleading when one wishes to go anywhere with direction and dispatch. You give that up, presently. You do not try to save time by cutting through. When you do, you arrive in some new little rectangle or confluence, with a floral fountain in the middle, and neat little streets winding away to nowhere in particular; then all at once you are back where you started. In this, as in some other points of resemblance, Vevey might be called the Boston of Switzerland. Not that I pretend to a familiarity with Boston—nobody has that—but I have an aunt who lives there, and every time I go to see her I am obliged to start in a different direction for her house, though she claims to have been living in the same place for thirty years. Some people think Boston is built on a turn-table. I don't know; it sounds reasonable.
To come back to Vevey—it is growing—not in the wild, woolly, New York, Chicago, and Western way, but in a very definite and substantial way. They are building new houses for business and residence, solid structures of stone and cement, built, like the old ones, to withstand time. They do not build flimsy fire-traps in Switzerland. Whatever the class of the building, the roofs are tile, the staircases are stone. We always seem to court destruction in our American residential architecture. We cover our roofs with inflammable shingles to invite every spark, and build our stairways of nice dry pine, so that in the event of fire they will be the first thing to go. This encourages practice in jumping out of top-story windows.
By day Vevey is a busy, prosperous-looking, though unhurried, place, its water-front gay with visitors; evening comes and glorifies the lake into wine, turns to rose the snow on Grammont, the Dents de Midi, and the Dents de Morcles. As to the sunset itself, not many try to paint it any more. Once, from our little balcony we saw a monoplane pass up the lake and float into the crimson west, like a great moth or bird. Night in Vevey is full of light and movement, but not of noise. There is no wild clatter of voices and outbursts of nothing in particular, such as characterize the towns of Italy and southern France. On the hilltops back of Vevey the big hotels are lighted, and sometimes, following the dimmer streets, we looked up to what is apparently a city in the sky, suggesting one's old idea of the New Jerusalem, a kind of vision of heaven, as it were—heaven at night, I mean.
Chapter XIX
MASHING A MUD GUARD
One does not motor a great deal in the immediate vicinity of Vevey; the hills are not far enough away for that. One may make short trips to Blonay, and even up Pelerin, if he is fond of stiff climbing, and there are wandering little roads that thread cozy orchard lands and lead to secluded villages tucked away in what seem forgotten corners of a bygone time. But the highway skirts the lake-front and leads straight away toward Geneva, or up the Rhone Valley past Martigny toward the Simplon Pass. It has always been a road, and in its time has been followed by some of the greatest armies the world has ever seen—the troops of Cæsar, of Charlemagne, of Napoleon.