For here, defaced to such a point that sculptures they can be called no longer, are memorialised not only Louis XIV.‘s ancestors, but his offspring, namely, Louise Marie, one of his seven children by Madame de Montespan, all, as we know, with those of Madame de la Vallière, legitimised, ennobled and enriched. Pierre de Beaujeu, husband of the great Anne of France, was also buried here. Anne it was who, on the death of Louis XI., governed France with all her father’s astuteness, but without his cruelty, and pleasant and comforting it is to find that Duke Pierre, her husband, seconded her in every way, himself remaining in the background, acting to perfection the difficult rôle of Prince Consort. The sight of these once exquisite marbles may perhaps awaken in other minds the reflection that crossed my own. Heretical as I shall seem, I venture to express the opinion, that in such cases one of two courses are advisable, either the removal of the torsos, or restoration; why should not some genius be able in this field to do what Viollet le Duc has so successfully achieved in another? But for that great architect, the cathedral of Moulins—and how many other beautiful French churches?—would long ago have tumbled to pieces, been handed over as storage to corn merchants, or brewers! Is it so much more difficult to restore a marble effigy, whether of human being or animal, than a façade or an altar-piece? If impossible, then, I say, let broken marbles like those of Souvigny be hidden from view.
The agreeable town of Sens on the Yonne is here described for completeness’ sake. Although not lying in the Bourbonnais, Sens formed the last stage of our little tour in this direction, a direct line of railway connecting the town with Moulins. What a change we found here! Instead of unswept, malodorous streets, and sordid riverside quarters, all was clean, trim, and cared for, one wholly uncommon feature lending especial charm.
For the tutelar goddess of Sens, benignant genius presiding over the city, is a stream, or rather parent of many streams, that water the streets of their own free will, supplying thirsty beasts with copious draughts in torrid weather, and keeping up a perpetual air of rusticity and coolness.
Wherever you go you are followed by the musical ripple of these runlets, purling brooks so crystalline that you are tempted to look for forget-me-nots.
The voluntariness of this street watering constitutes its witchery. Post haste flows each tiny course; not having a moment to spare seems every current. Need we wonder at the fabled Arethusas and Sabrinas of more youthful worlds?
Of itself Sens is very engaging. We can easily understand the fact of the late Mr. Hamerton having made his first French home here. In the memoir of her husband, affixed to his autobiography, Mrs. Hamerton gives us particulars, not only of individual, but of super-personal interest. I use the last expression because the idiosyncrasy described is common to most men and women of genius or exceptional talent. The charming essayist then, the art-critic, gifted with so much insight and feeling settled down at Sens we are told, for the purpose of painting ‘commission pictures.’ His career was to be decided by the brush and not by the pen. The author of “The Intellectual Life,” with how many other works of distinction, had, at the outset, wholly mistaken his vocation. “The first thing considered by Gilbert when he settled at Sens,” writes Mrs. Hamerton, “was the choice of subjects for his commission pictures, which he intended to paint directly from nature; and he soon selected panoramic views from the top of a vine-clad hill, called Saint Bon, which commands an extensive view of the river Yonne, and of the plains about it.” Unfortunately, rather we should say fortunately, anyhow, for the reading world, the ‘commission pictures’ were declined. The disappointed artist, out of humour with Sens, made a series of journeys in search of an ideal home, the result being that most entertaining and successful book, “Round My House,” and the final devotion of its author to letters.
Sens might well seem an ideal place of abode to many. Formed from the ancient Province of Burgundy, the Department of the Yonne has the charm of Burgundian scenery, with the addition of a wide, lovely river. All travellers on the Lyons-Marseilles Railway will recall the noble appearance of the town from the railway—the Cathedral, with its one lofty tower, rising above grey roofs, no factory chimneys marring the outline, and, between bright stretches of country, the Yonne, not least enchanting of French rivers, if not the most striking or romantic, perhaps the sweetest and most soothing in the world. The favourable impression of Sens gained by this fleeting view, is more than justified on nearer acquaintance. The Cathedral, externally less imposing than those of Bourges, Rheims, or even Rodez and Beauvais, is of a piece alike without and within, no tasteless excrescence disfiguring its outer walls, little or no modern tawdriness to be seen inside, an architectural gem of great purity. For the curious in such matters, the sacristy offers many wonders, among others a large fragment of the true cross, presented to Sens by Charlemagne. Less apocryphal are the vestments of our own Archbishop Thomas, alb, girdle, stole, and the rest, all most carefully preserved and exhibited in a glass case. It will be remembered that, when the turbulent Thomas of London, afterwards known as Becket, was condemned as a traitor, he fled to France. “This is a fearful day,” said one of his attendants on hearing the sentence. “The Day of Judgment will be more fearful,” replied Thomas. It was not at Sens, however, that the refugee took up his abode, but in the Abbey of St. Colombe, now in ruins hard by.
On the other side of the bridge, crowning an islet, stands one of those curious churchlets, or churclings I was about to say, that possess so powerful a fascination for the archaeological mind. Particularly striking was the little Romanesque interior in the September twilight, a picturesque group of Sisters of St. Vincent de Paul, rehearsing canticles with their pupils at one end, the subdued light just enabling us to realise the harmony of proportions. This little church of St. Maurice dating from the twelfth century, partly restored in the sixteenth, must not on any account be missed. Its pretty spire crowns the Isle d’Yonne, or island of the Yonne.