An imbecile shout from the door for anybody or anything brings a broad-featured, rosy, grinning German girl to our aid, who, when she is asked her name, says it is Katrine, but we can call her by any name we please. The pronunciation of ‘Katrine’ not presenting those difficulties to our foreign tongues which the owner of it seems to anticipate, we prefer to adhere to her baptismal cognomen, instead of naming her afresh, and desire Katrine to bring us some hot water and towels; on which she disappears, still on the broad grin, and returns with a pail of warm water, which she sets down in the middle of the room. We manage well enough with that, however, but are at our wits’ end when, on being asked for more of the same fluid with which to mix the baby’s bottle, she presents it to us in a washing-basin. But as, a few minutes after, I encounter her in the corridor carrying a coffee-pot full to E—’s room, I conclude that in Rochefort it is the fashion to use vessels indiscriminately, and resolve thenceforth to take the goods the gods provide, without questioning.
On descending to the dining-room, we find that the gods have been very munificent in their gifts. After the soup appears roast beef; and as we are very hungry, we cause it to look foolish, and are just congratulating each other on having made an excellent dinner, when in trots Thérèse, pops our dirty knives and forks upon the tablecloth, whips away our plates, with that which contains the remainder of the beef, and puts down a dish of mutton-chops in its stead. We look at one another in despair; we feel it to be perfectly impossible to begin again upon mutton-chops, and I am obliged to hint the same to Thérèse in the most delicate manner in the world. She expostulates; but to no purpose, and leaves the room, mutton-chops in hand. But only to give place to her mother, who enters with a countenance of dismay to inquire what is wrong with the cooking that we cannot eat.
Nothing is wrong; we have eaten remarkably well. It is our capabilities of stowage which are at fault. Will we not have the hare, which is just ready to be served up?
Sorry as we are to do it, we must decline the hare; and as we affirm that we are ready for the pudding, and nothing else, we feel we have sunk in Madame’s estimation.
The pudding, a compote of apples and preserves, with the whipped cream and custard, is delicious; and as soon as we have discussed it, we are very thankful to stretch ourselves under the eider-down quilts, and know the day to be over. We have done work enough that day to entitle us to twelve hours’ repose; yet we are all wide-awake with the first beams of the morning sun.
We dress ourselves with the pleasurable anticipation of seeing new things, however simple, and come downstairs to a breakfast-table, in its way as plentifully spread as the dinner-table of the night before. We have an abundance of milk,—so fresh from the cow that it is covered with froth, and the jug which contains it is quite warm,—eggs, cold meat, home-made bread in huge brown loaves, good butter, and strong clear coffee. In fact, we come to the conclusion that our landlady knows how to live, and we no longer marvel at the rosy cheeks and full forms of Thérèse and Josephine, nor that Madame herself fills out her dresses in such a magnificent manner.
E— has been for a stroll before breakfast, and brings back a report of ruins on the high ground; he has already unpacked his sketch-books and sharpened his pencils. We, not being walking encyclopædias, seize our Continental Bradshaw, and find that the ruins are those of a castle in which Lafayette was made prisoner by the Austrians in 1792.
As soon as breakfast is concluded, we rush off to see the ruined castle, which stands on an eminence just above the hotel, and which our landlady (who walks into our sitting-room and takes a chair in the most confiding manner possible whenever she feels so inclined) informs us, although not open to the public, belongs to a lady whose house is built on the same ground, and who will doubtless allow us to look over it. We can see the remains of the castle before we reach them, and decide that it must have been uglier and less interesting when whole than now, having been evidently designed with a view to strength rather than beauty. The little winding acclivitous path which leads to it, bounded by a low wall fringed with ferns and mosses, is perhaps the prettiest part of the whole concern; but just as we have scaled it, and come upon the private dwelling-house, our poetic meditations are interrupted by the onslaught of half-a-dozen dogs (one of which is loose, and makes fierce snaps at our unprotected legs), which rush out of their kennels at chains’ length, and bark so vociferously, that we feel we have no need to make our presence known by knocking at the door. A child appears at it; and we inquire politely if we may see the ruins, at which she shakes her head, and we imagine she doesn’t understand our Parisian French.
But in another moment we are undeceived, for the shrill, vixenish voice of a woman (may dogs dance upon her grave!) exclaims sharply from the open door, ‘Fermez, fermez; on ne peut pas entrer.’ The child obediently claps it to in our faces, and we retrace our steps, with a conviction that the lady is like her castle—more strong than beautiful. E— is so disgusted that he will not even sketch the ruins from the opposite side of the road, up which another precipitous path leads us to a long walk, which in summer must be a perfect bower, from the interlacing of the branches of the trees with which it is bordered; and from which we have a far better view of the ruins than the utmost politeness of their owner could have afforded us. But no; judgment has gone out against them; we decide they are heavy and unpicturesque, and not worth the trouble; and we walk on in hopes of finding something better: and are rewarded. At the close of the long over-shadowed walk, a quaint little chapel, beside which stands a painted wooden crucifix nearly the size of life, excites our curiosity, and, walking round it, we come upon one of the loveliest scenes, even in the month of February, that Nature ever produced.
A green valley, creeping in sinuous folds between two ranges of high hills; one rocky and coated with heather, the other clothed with wood. Beneath the rocky range there winds a road bordered by trees,—along which we can see the red diligence which brought us from the station taking its jangling way,—and beside it runs a stream, terminating in a cascade and a bridge, and the commencement of the lower part of Rochefort. All the fields are cut upon the sides of hills, and are diversified by clumps of rock covered with ferns, and usually the groundwork of a well, protected by a few rough planks, or the fountain-head of a mountain-stream which trickles down until it joins the river. This is the valley of Jemelle, to see which in the proper season would alone be worth a journey to Rochefort. We look and admire, and lament the impossibility of ever transferring such a scene to canvas as it should be done; and then we turn back whence we came, and find we are standing at the entrance of an artificial cave, situated at the back of the crucifix before alluded to, and which forms perhaps as great a contrast to the natural loveliness we have just looked upon, as could well be. Apparently it is the tomb of some woman, by the framed requests which hang on either side that prayers may be offered for the repose of her soul; but had her friends turned out upon her grave all the maimed and motley rubbish to be found in a nursery playbox of some years’ standing, they could scarcely have decorated it in a less seemly manner. At the end of the cave is a wooden grating, behind which is exhibited one of those tawdry assemblages of horrors which tend more perhaps than all else to bring ridicule on the Roman Catholic religion, so utterly opposed are they to our conceived ideas of what is sacred. Two or three rudely-carved and coarsely-painted, almost grotesque, wooden groups of the dead Christ, the Holy Family, and the Crucifixion, form the groundwork of this exhibition: the interstices being filled up with gold-and-white jars of dirty artificial flowers; framed prints of saints with lace borders, reminding one of the worst description of valentines; and composite figures, supposed to represent the same individuals, and which may have cost fifty centimes apiece. The collection is such as to make the spectator shudder to see holy things so unholily treated; and it is difficult to conceive how, in this century, when art has been carried to such a pitch that even our commonest jugs and basons have assumed forms consistent with it, anyone, even the lowest, can be satisfied with such designs and colouring as these things display.