The son-in-law of Madame de Sévigné was the most exorbitant as he was the most distinguished of his race; and it was in him that the splendour and disaster of the family culminated. But probably no visions of future retribution disturbed the charming woman who spent—a victim to her maternal passion—her last somewhat melancholy years in the semi-regal isolation of Grignan. No one but La Bruyère seems, in that day, to have noticed the “swarthy livid animal, crouched over the soil, which he digs and turns with invincible obstinacy, but who, when he rises to his feet, shows a human countenance”—certainly he could not be visible, toiling so far below, from that proud terrace of the Adhémar which makes the church its footstool. Least of all would he be perceptible to the eyes—on other lines so discerning!—of the lady whose gaze, when not on her daughter’s face, remained passionately fixed on the barrier of northern mountains, and the highway that ran through them to Paris. Paris! Grignan seems far enough from it even now—what an Ultima Thule, a land of social night, it must have been in the days when Madame de Sévigné’s heavy travelling carriage had to bump over six hundred miles of rutty road to reach the doors of the Hôtel Carnavalet! One had to suffer Grignan for one’s adored daughter’s sake—to put up, as best one could, with the clumsy civilities of the provincial nobility, and to console one’s self by deliciously ridiculing the pretensions of Aix society—but it was an exile, after all, and the ruined rooms of the castle, and the long circuit of the chemin de ronde, are haunted by the wistful figure of the poor lady who, though in autumn she could extol the “sugary white figs, the Muscats golden as amber, the partridges flavoured with thyme and marjoram, and all the scents of our sachets,” yet reached her highest pitch of eloquence when, with stiff fingers and shuddering pen, she pictured the unimaginable February cold, the “awful beauty of winter,” the furious unchained Rhone, and “the mountains charming in their excess of horror.”
VALENCE: THE CATHEDRAL
IV
THE RHONE TO THE SEINE
From Montélimar to Lyons the “great north road” to Paris follows almost continuously the east shore of the Rhone, looking across at the feudal ruins that stud the opposite cliffs. The swift turns of the river, and the fantastic outline of these castle-crowned rocks, behind which hang the blue lines of the Cévennes, compose a foreground suggestive in its wan colour and abrupt masses of the pictures of Patinier, the strange Flemish painter whose ghostly calcareous landscapes are said to have been the first in which scenery was painted for scenery’s sake. In all the subtler elements of beauty, as well as in the power of historic suggestion, this Rhone landscape far surpasses that of the Rhine; but, like many of the most beautiful regions of France, it has a quality of aloofness, of almost classic reserve, that defends it from the inroads of the throng.
Midway to Lyons, Valence, the capital of Cæsar Borgia’s Valentinois, rises above the river, confronted, on the opposite shore, by a wild cliff bearing the ruined stronghold of Crussol, the cradle of the house of Uzès. The compact little Romanesque cathedral of Saint Etienne, scantily adorned by the light exterior arcade of its nave, is seated on an open terrace overlooking the Rhone. As sober, but less mellow, within, it offers—aside from the monument to Pius VI., who ended his troubled days here—only the comparatively recondite interest of typical constructive detail; and the impressionist sight-seer is likely to wander out soon to the little square beyond the apse.
Here stands “Le Pendentif,” a curious little vaulted building of the Renaissance, full of the note of character, though its original purpose seems to be the subject of archæological debate. Like many buildings of this part of the Rhone valley, it was unhappily constructed of a stone on which the wear of the weather might suggest the literal action of the “tooth of Time”—so scarred and gnawed is the whole charming fabric. As to its original use, it appears to have been the mortuary chapel of the noble family whose arms are discernible among the incongruous animals of its decaying sculpture; for it is part of the strangeness of the little monument that the spandrils of its elegant classic order are inhabited by a rude Romanesque fauna which, combined with the dusky hue and ravaged surface of the stone, confers on it, in contrast to the rejuvenated church, a look of mysterious antiquity.
A few yards off, down a dark narrow street, the same savour of the past is found in one of those minor relics which let the observer so much deeper into by-gone institutions than the study of their official monuments. This is simply an old private house of the early Renaissance, with a narrow sculptured courtyard, a twisting staircase, and vaulted stone passages and rooms of singularly robust construction. It is still—appropriately enough—inhabited by une très vieille dame who has receded so deeply into the farthest convolution of her stout stone shell that her friendly portress had leave to conduct us from basement to attic, giving us glimpses of dusky chambers with meagre venerable furniture, and of kitchens and offices with stone floors, scoured coppers and pots of herbs, all so saturated with the old concentrated life of provincial France that it was like lifting to one’s lips a glass of some ancient wine just at the turning-point of its perfection.
