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CLOISTERS OF THE CATHEDRAL AT AIX

From a photograph

The Cours Mirabeau divides the modern city from its ancient fellow, and as I leave the hotel, I plunge at once into the dark and narrow streets of the latter where in René's day the poets, troubadours, and gallants held high revels. Aix was the home of politeness, the theatre of the courts of love, which in the valley of the Rhone can never be platonic—and there were held fêtes and tournaments, and life was all a song. It is not always the well-known objects which attract one most in these old mediæval towns but the quaint bits and corners, fountains and monuments unnoted in any guide-book. Yonder stately façade was surely the dwelling of some one of importance in the old days. To-day it is occupied by many of a far different order. An arched portal gives entrance to a courtyard with an old fountain. A stately façade beautifully carved rises beyond; and through a distant archway one catches a glimpse of a deserted garden where the trees form a wild tangle around broken statues, and there is the murmur of water, but the soul of the house has long since passed away. Perhaps in the days of the terror those doors resounded to thunderous knocking while the silence of the night and the peace of the house vanished forever at the dread summons, "Open in the name of the nation," a sure bidding, in those times, to the guillotine; and I doubt not that, with the courage of their class, Monsieur le Marquis and Madame la Marquise went forth to their doom calmly and with great dignity.

One could stand and dream forever in this town of old Provence, but the boys are gathering in curiosity as to why I gaze at a spot that has never attracted a passing interest in their minds. "No one save Jacques the huckster lives there, why should he excite any attention?"

The faded gilding in the ceilings of the great salon visible through the dusty window tells no tale of bygone splendour to the boys, no picture of Watteau figures in high heels dancing around that broken god Pan in the garden pass before their mental visions. To-day one shaft of that old cart rests upon his flute and a blossoming plum tree casts its white shower over his head, but his music is silent for ever.

CLOISTERS OF THE CATHEDRAL AT AIX

From a photograph

In the square beyond stands the Hôtel de Ville which shelters in its courtyard an excellent statue of Mirabeau, and just outside rises one of the old towers of the city, now dedicated by a tablet to the souls of those who have lost their lives for their country. A young woman under its shadow tells me that I shall find the Cathedral just beyond, and in company with the archiepiscopal palace and the little university, there it stands in a square by itself. The Cathedral of St. Sauveur is very ancient. As I enter, the whole interior rests in silence save for the droning voice of some priest. Candles twinkle before the many altars, and the sunlight filters through the trees outside and the painted windows, casting wavering shadows down upon the empty aisles and many tombs. In the nave one may see the portraits of King René and his second wife Jeanne de Laval, and as you gaze upon them, the picture of his life unrolls itself across your mental vision. Born in the grim castle of Angers in 1409, René was married when but twelve years of age and his eldest child came on earth when the father was but eighteen. Eventually René, Duke of Bar and Lorraine, became Duke of Anjou, Count of Provence, and King of the two Sicilies. Though he held the last-named honour but eight years he never surrendered the title. He was a friend of Agnes Sorel and of Joan of Arc, women much more to his liking than his fierce daughter Margaret. René gave all his love to this land of Provence where his palace stood intact—here in Aix—until destroyed most wantonly in 1786. His progress thither was by state barges up and down the rivers—on the Loire to Roanne and thence over land to the Rhone at Lyons and so to Tarascon. Music and flowers, sunshine and happiness seem to have been his portion, yet there was one shadow—that of Louis XI. then the dauphin, whom he met for the first time in the Castle of Tarascon. At Tarascon he instituted the Order of the Crescent and held a fête which is remembered to this day. To his credit it is recorded that he gave protection to Jacques Cœur, fleeing from the ingratitude and treachery of Charles VII., and enabled him to escape into Italy. Having already said farewell to France and Anjou, René plainly saw the absorption of his beloved Provence by King Louis. His picture—some say painted by himself—here in the Cathedral does not impress one strongly. He was too old when it was done and while interesting and beautiful in detail one does not linger long in its contemplation. This cathedral was four hundred years old when René was born and portions of it date far before that, being of Roman origin. Especially is this the case in the baptistery whose superb columns came from the temple of Apollo. The cloisters are quaint and most interesting, and the temptation to linger is strong upon me, but time presses and so I pass outward and down the queer streets to where Jean solemnly seated in the Red Machine awaits my pleasure.

Yama has the luggage already packed in the auto when I reach the hotel and we are shortly off, jumping instantly back, or rather forward, from the fourteenth to the twentieth century. Madame smiles an adieu from her seat by the door and keeps on knitting, as those women of France have ever done through sunshine and sorrow, days of happiness and days of blood.

As we speed away, Jean catches sight of the Madonna high up on the mountain and heaves a great sigh, regret I suppose at the recollection of all those neglected confessions.