The deputy-mayor tried to calm him by observing that I had a right to be an Englishman. The garde then walked out, looking very hot and puzzled. From his childhood he had heard of the English as the worst tyrants that the region had known. Was not the country strewn with the ruins of the fortresses they had built? To his mind they were more dangerous enemies than the Germans, who never came near Martel. I bear no grudge against the old man. He believed that he was doing his duty in arresting me, and if I had made more allowance for his age and prejudices the unpleasantness might have been avoided. To him the old struggle with the English was almost as fresh as if it had taken place in his father's time.
People who remain in the same place all their days, and who never read, live much more in the past than others, and remember injuries done to their remote ancestors as if they, the latest descendants, were still suffering from them, I remember asking a woman in an inn not far from Martel how an old gateway and other mediaeval buildings close by had been brought to such a sad state of ruin.
'It was you,' she exclaimed, 'who did that—vous autres anglais!'
And she looked so resentful for a few moments that I wished I had let the sleeping dog lie.
IN UPPER PÉRIGORD.
Leaving Martel, I crossed the valley of the Dordogne, and passed on to other valleys southward and eastward, as recounted in the story of my wanderings by 'Southern Waters.' Many months went by, and then one summer day found me wayfaring again by the Dordogne towards the sea. A little below the point where I had crossed in search of the Ouysse I came to the small town of Souillac. This place, although fortified in the Middle Ages, played a much less important part in the wars of the Quercy than the neighbouring burgs of Martel and Gourdon. Its interest lies mainly in its twelfth-century church, and here chiefly in a very remarkable bas-relief of the Last Judgment. This astonishing work of art is to be found not where one would expect it to be, namely, in the tympanum of the portal, but in the interior, against a wall at the west end, over a Gothic arch, whose transition from the preceding style is marked by a billet-moulding. The sculpture is in a high degree typical of the uncouth vigour of the period. The two pillars supporting the arch are so carved as to represent figures of the damned going down into hell. The artist might have been inspired by Dante had he not lived before the poet who collected and fixed upon the sombre canvas of his verse all the woeful visions of eternal punishment that haunted the mediaeval mind. A man and woman are descending to the abyss, he holding her by the hair, and she clasping him by the waist, the faces of both terribly expressive of horror that is new, and utter despair. The meaning is plain, enough: each was the cause of the other's doom, and the sentence of the Judge in the panel above has united them in hell for all eternity. On the opposite pillar are another couple, also clasping one another; but their faces express the blank and passionless misery of a doom foreknown. Monk or layman, he who designed the composition felt the necessity of giving this tragic warning to his fellow-beings. Centuries later an English poet expressed the same idea in verse:
'The woman's cause is man's! they rise or sink
Together, dwarfed or god-like, bond or free.'
One of the less conspicuous figures is going down head foremost in the company of an animal that looks very like a pig. This beast having been damned by ecclesiastical sculptors in France as early as the twelfth century, and probably earlier, it is not surprising that a polite peasant, when he mentions it by name, often excuses himself for his supposed breach of good manners by adding: 'Sauf votre respect.'
Nearing a village not far from Souillac, and wondering the while what had become of the picturesque, I saw, as if by enchantment, a few yards away, a little old church covered with ivy, and surrounded by tombstones that were stained with the dead colours of last winter's lichen; one leaning this way, another that, but all going down into the grassy graves. A few chairs and a single bench told that the people who came here to pray were not many nor rich. Most of the flagstones were broken, and the altar was almost simple enough to please a Calvinist. It was the simplicity, not of intention, but of poverty. Are such churches—lost amidst the pensive trees, or bathed by the tender evening light upon the vine-clad hillside—doubly hallowed, or is it the poetry of old memories and ideal pictures stored away behind a multitude of newer impressions that moves us like the wind-blown strains of half-forgotten melodies as we pass them in our wanderings?
Evening found me by the Dordogne, that flowed calmly in a salmon-coloured light, thrown down by a wasteful stony hill, itself lit up by a reflected glow of the sinking sun. The meadows through which the little path ran were dotted all over with golden spots of lotus, and near the water the pale, pure yellow of the evening primrose shone against the darkening willows. The voices of unseen peasants, labouring somewhere in the fields so long as the daylight lasted, were carried up the valley by the breeze, just loosened from its leash; but the sound was only a little louder than the whispering of the poplars.