Judge, dear Roger, after this recital, of which I have subdued the horrors and dramatic situations out of regard to your sensibility, whether I could return to Paris to be the comforter in your sorrow. Yet I could brave an encounter with the Marquise were it not that I am retained in Normandy by an expected visit of two months from our friend Raymond. This fact certainly ought to make you decide to share our solitude. Our friend is so poetical, so witty, so charming. He has but one fault, that of being a civilized Don Quixote de la Mancha; instead of the helmet of Mambrino he wears a Gibus hat, a Buisson coat instead of a cuirass, a Verdier cane by way of a lance. Happy nature! in which the heart is not sacrificed to the intellect; where the subtlety of a diplomate is united to the ingenuousness of a child.
Since your ideal has fled, are not all places alike to you? Then why should you not come to me, to Richeport, but a step from Pont de l'Arch?
I am perched upon the bank of the river, in a strange old building, which I know will please you. It is an old abbey half in ruins, in which is enshrined a dwelling, with many windows at regular intrevals, and is surmounted by a slate roof and chimneys of all sizes. It is built of hewn stone, that time has covered with its gray leprosy, and the general effect, looking through the avenue of grand old trees, is fine. Here my mother dwells. Profiting by the walls and the half-fallen towers of the old enclosure, for the abbey was fortified to resist the Norman invasions, she has made upon the brow of the hill a garden terrace filled with roses, myrtles and orange trees, while the green boxes surrounding them replace the old battlements. In this quarter of the old domain, I have not interfered with any of these womanly fancies.
She has collected around her all manner of pretty rusticities; all the comfortable elegancies she could imagine. I have not opposed any system of hot-air stoves, nor the upholstering of the rooms, nor objected to mahogany and ebony, wedgwood ware, china in blue designs, and English plate. For this is the way that middle-aged, and in fact, all reasonable people live.
For myself, I have reserved the refectory and library of the brave monks, that is, all that overlooks the river. I have not permitted the least repairing of the walls, which present the complete flora of the native wild flowers. An arched door, closed by old boards covered with a remnant of red paint, and opening on the bank, serves me as a private entrance. A ferry worked by a rope and pulley establishes communication with an island opposite the abbey, which is verdant with a mass of osiers, elder bushes and willows. It is here also that my fleet of boats is moored.
Seen from without, nothing would indicate a human habitation; the ruins lie in all the splendor of their downfall.
I have not replaced one stone—walled up one lizard—the house-leek, St. John's-wort, bell-flower, sea-green saxifrage, woody nightshade and blue popion flower have engaged in a struggle upon the walls of arabesques, and carvings which would discourage the most patient ornamental sculptor. But above all, a marvel of nature attracts your admiring gaze: it is a gigantic ivy, dating back at least to Richard Coeur de Lion, it defies by the intricacy of its windings those geneological trees of Jesus Christ, which are seen in Spanish churches; the top touching the clouds, and its bearded roots embedded in the bosom of the patriarchal Abraham; there are tufts, garlands, clusters, cascades of a green so lustrous, so metallic, so sombre and yet so brilliant, that it seems as if the whole body of the old building, the whole life of the dead abbey had passed into the veins of this parasitic friend, which smothers with its embrace, holding in place one stone, while it dislodges two to plant its climbing spurs.
You cannot imagine what tufted elegance, what richness of open-work tracery this encroachment of the ivy throws upon the rather gaunt and sharp gable-end of the building, which on this front has for ornament but four narrow-pointed windows, surmounted by three trefoil quadrilobes.
The shell of the adjoining building is flanked at its angle by a turret, which is chiefly remarkable for its spiral stairway and well. The great poet who invented Gothic cathedrals would, in the presence of this architectural caprice, ask the question, "Does the tower contain the well, or the well the tower?" You can decide; you who know everything, and more besides—except, however, Mlle. de Chateaudun's place of concealment.
Another curiosity of the old building is a moucharaby, a kind of balcony open at the bottom, picturesquely perched above a door, from which the good fathers could throw stones, beams and boiling oil on the heads of those tempted to assault the monastery for a taste of their good fare and a draught of their good wine.