It was due to this climatic condition that in the first half of last century patients in the early stages of consumption were dispatched to Pau. Now that the treatment of phthisis is revolutionized, it is no longer a resort for such as suffer from pulmonary complaints, but serves as a refuge from the stormy English winters for those who desire pleasant resting places where there are races, fox-hunting, and good company. The climate, however, does not agree with all constitutions. It is enervating, a land of lotus-eaters—

“In which it seemed always afternoon.”

Pau, the old Pau, is attached on the north to the dreary lande of the Pont-long that has belonged from time immemorial to the inhabitants of the Val d’Ossau, and which is strewn with tumuli. But from this plateau it is in part cut off by the stream Hédas, that has cleft for itself a valley dividing the town into two parts. New Pau has spread and is spreading to north and east, so that its extremities have to be reached by electric trams. Happily, to the west it cannot encroach on the rubble ridge occupied by the park. Between this park and the castle which occupies the extreme west of the town the ridge has been sawn through by the stream, but the gap has been widened artificially, and is now spanned by a bridge.

The Castle of Pau was built at various dates. The four towers and the curtain uniting them, except the south and east faces, are the oldest part, and were erected by Gaston Phœbus in or about 1363. The donjon to the east is of brick, and is furnished with slots. The work begun by Gaston Phœbus was continued by his successor, but the magnificent south façade, the state buildings, and the enrichment of the court within, in the style of the Renaissance, are due to Henry II of Navarre; and the sixth tower was set up by Louis Philippe.

The whole castle, especially the interior, has gone through a complete restoration, for it had been plundered and gutted by the Revolutionists. The tapestries that now cover the walls were collected from various places. The furniture, to a large extent modern, is a clumsy imitation of old work; there are, however, some fine ancient cabinets. In this castle was confined for a while Abd-el-Kader. In 1848 I visited him there several times. He had with him a suite and his wives, all insensible to the stateliness of the castle and the glorious panorama from the windows. They lounged about the rooms silent and smoking, sulky, without occupation and without interests. Their habits were so dirty that the tapestries and rich furniture had all to be removed. Abd-el-Kader had maintained a long and gallant resistance against the French, and when he surrendered to the Duc d’Aumale and General Lamorcière, it was on the stipulation that he should be allowed to retire in freedom to Egypt or into Syria. The terms were accepted and broken. He was removed a prisoner to Toulon, then to Pau, and in November, 1848, he was transferred to Amboise. Napoleon III released him in 1852, and he finally settled in Damascus. In the terrible massacre of the Christians at Damascus in the summer of 1860, by Turks and Druses, Abd-el-Kader acted with such energy to protect the Christians that the Emperor of the French sent him the gold cross of the Legion of Honour. Possibly enough he may have been moved to this intervention on behalf of the Christians by recollecting the kindness that was shown him in his captivity by both English and French residents at Pau, sending him fruit and flowers for the ladies of his harem.

It was during his imprisonment at Toulon that Thackeray wrote his stirring lines:—

“No more, thou lithe and long-winged hawk, of desert life for thee;
No more across the sultry sands shalt thou go swooping free;
Blunt idle talons, idle beak, with spurning of thy chain,
Shatter against the cage the wing thou ne’er mayst spread again.

* * * * *

“They gave him what he asked; from king to king he spake
As one that plighted word and seal not knoweth how to break;
‘Let me pass from out my deserts, be’t mine own choice where to go,
I brook no fettered life to live, a captive and a show.’