Just below the Baths of the Louvre, there are several floating barges belonging to the washer-women, anchored at the foot of the great stone staircase leading down to the water. They stand there day after day, beating their clothes upon flat boards and rinsing them in the Seine. One day there seemed to have been a wedding or some other cause of rejoicing among them, for a large number of the youngest were talking in great glee on one of the platforms of the staircase, while a handsome, German-looking youth stood near, with a guitar slung around his neck. He struck up a lively air, and the girls fell into a droll sort of a dance. They went at it heavily and roughly enough, but made up in good humor what they lacked in grace; the older members of the craft looked up from their work with satisfaction and many shouts of applause wore sent down to them from the spectators on the Quai and the Pont Neuf. Not content with this, they seized on some luckless men who were descending the steps, and clasping them with their powerful right arms, spun them around like so many tops and sent them whizzing off at a tangent. Loud bursts of laughter greeted this performance, and the stout river maidens returned to their dance with redoubled spirit.
Yesterday, the famous procession of the "boeuf gras" took place for the second time, with great splendor. The order of march had been duly announced beforehand, and by noon all the streets and squares through which it was to pass, were crowded with waiting spectators. Mounted gens d'armes rode constantly to and fro, to direct the passage of vehicles and keep an open thoroughfare. Thousands of country peasants poured into the city, the boys of whom were seen in all directions, blowing distressingly through hollow ox-horns. Altogether, the spirit of nonsense which animated the crowd, displayed itself very amusingly.
A few mounted guards led the procession, followed by a band of music. Then appeared Roman lictors and officers of sacrifice, leading Dagobert, the famous bull of Normandy, destined to the honor of being slaughtered as the Carnival beef. He trod rather tenderly, finding, no doubt, a difference between the meadows of Caen and the pavements of Paris, and I thought he would have been willing to forego his gilded horns and flowery crown, to get back there again. His weight was said to be four thousand pounds, and the bills pompously declared that he had no rival in France, except the elephant in the Jardin des Plantes.
After him came the farmer by whom he was raised, and M. Roland, the butcher of the carnival, followed by a hundred of the same craft, dressed as cavaliers of the different ages of France. They made a very showy appearance, although the faded velvet and soiled tinsel of their mantles were rather too apparent by daylight.
After all these had gone by, came an enormous triumphal car, very profusely covered with gilding and ornamental flowers. A fellow with long woollen hair and beard, intended to represent Time, acted as driver. In the car, under a gilded canopy, reposed a number of persons, in blue silk smocks and yellow "fleshtights," said to be Venus, Apollo, the Graces, &c. but I endeavored in vain to distinguish one divinity from another. However, three children on the back seat, dressed in the same style, with the addition of long flaxy ringlets, made very passable Cupids. This closed the march; which passed onward towards the Place de la Concorde, accompanied by the sounds of music and the shouts of the mob. The broad, splendid line of Boulevards, which describe a semi-circle around the heart of the city, were crowded, and for the whole distance of three miles, it required no slight labor to make one's way. People in masks and fancy costumes were continually passing and re-passing, and I detected in more than one of the carriages, checks rather too fair to suit the slouched hunter's hats which shaded them. It seemed as if all Paris was taking a holiday, and resolved to make the most of it.
CHAPTER XLVI. — A GLIMPSE OF NORMANDY.
After a residence of five weeks, which, in spite of some few troubles, passed away quickly and delightfully, I turned my back on Paris. It was not regret I experienced on taking my seat in the cars for Versailles, but that feeling of reluctance with which we leave places whose brightness and gaiety force the mind away from serious toil. Steam, however, cuts short all sentiment, and in much less time than it takes to bid farewell to a German, we had whizzed past the Place d'Europe, through the barrier, and were watching the spires start up from the receding city, on the way to St. Cloud.
At Versailles I spent three hours in a hasty walk through the palace, which allowed but a bare glance at the gorgeous paintings of Horace Vernet. His "Taking of Constantine" has the vivid look of reality. The white houses shine in the sun, and from the bleached earth to the blue and dazzling sky, there seems to hang a heavy, scorching atmosphere. The white smoke of the artillery curls almost visibly off the canvass, and the cracked and half-sprung walls look as if about to topple down on the besiegers. One series of halls is devoted to the illustration of the knightly chronicles of France, from the days of Charlemagne to those of Bayard and Gaston de Foix. Among these pictured legends, I looked with the deepest interest on that of the noble girl of Orleans. Her countenance—the same in all these pictures and in a beautiful statue of her, which stands in one of the corridors—is said to be copied from an old and well-authenticated portrait. United to the sweetness and purity of peasant beauty, she has the lofty brow and inspired expression of a prophetess. There is a soft light in her full blue eye that does not belong to earth. I wonder not the soldiery deemed her chosen by God to lead them to successful battle; had I lived in those times I could have followed her consecrated banner to the ends of the earth. In the statue, she stands musing, with her head drooping forward, as if the weight of the breastplate oppressed her woman's heart; the melancholy soul which shines through the marble seems to forebode the fearful winding-up of her eventful destiny.