# A Little Tour In France/Chapter XXV

"Cette, with its glistening houses white, Curves with the curving beach away To where the lighthouse beacons bright, Far in the bay."
That stanza of Matthew Arnold's, which I happened to remember, gave a certain importance to the half-hour I spent in the buffet of the station at Cette while I waited for the train to Montpellier. I had left Narbonne in the afternoon, and by the time I reached Cette the darkness had descended. I therefore missed the sight of the glistening houses, and had to console myself with that of the beacon in the bay, as well as with a bouillon of which I partook at the buffet aforesaid; for, since the morning, I had not ventured to return to the table d'hote at Narbonne. The Hotel Nevet, at Montpellier, which I reached an hour later, has an ancient renown all over the south of France, advertises itself, I believe, as le plus vaste du midi. It seemed to me the model of a good provincial inn; a big rambling, creaking establishment, with brown, labyrinthine corridors, a queer old open-air vestibule, into which the diligence, in the bon temps, used to penetrate, and an hospitality more expressive than that of the new caravansaries. It dates from the days when Montpellier was still accounted a fine winter residence for people with weak lungs; and this rather melancholy tradition, together with the former celebrity of the school of medicine still existing there, but from which the glory has departed, helps to account for its combination of high antiquity and vast proportions. The old hotels were usually more concentrated; but the school of medicine passed for one of the attractions of Montpellier. Long before Mentone was discovered or Colorado invented, British invalids travelled down through France in the post-chaise or the public coach to spend their winters in the wonderful place which boasted both a climate and a faculty. The air is mild, no doubt, but there are refinements of mildness which were not then suspected, and which in a more analytic age have carried the annual wave far beyond Montpellier. The place is charming, all the same; and it served the purpose of John Locke; who made a long stay there, between 1675 and 1679, and became acquainted with a noble fellow-visitor, Lord Pembroke, to whom he dedicated the famous Essay. There are places that please, without your being able to say wherefore, and Montpellier is one of the number. It has some charming views, from the great promenade of the Peyrou; but its position is not strikingly fair. Beyond this it contains a good museum and the long facades of its school, but these are its only definite treasures. Its cathedral struck me as quite the weakest I had seen, and I remember no other monument that made up for it. The place has neither the gayety of a modern nor the solemnity of an ancient town, and it is agreeable as certain women are agreeable who are neither beautiful nor clever. An Italian would remark that it is sympathetic; a German would admit that it is gemuthlich. I spent two days there, mostly in the rain, and even under these circumstances I carried away a kindly impression. I think the Hotel Nevet had something to do with it, and the sentiment of relief with which, in a quiet, even a luxurious, room that looked out on a garden, I reflected that I had washed my hands of Narbonne. The phylloxera has destroyed the vines in the country that surrounds Montpellier, and at that moment I was capable of rejoicing in the thought that I should not breakfast with vintners.
The gem of the place is the Musee Fabre, one of the best collections of paintings in a provincial city. Francois Fabre, a native of Montpellier, died there in 1837, after having spent a considerable part of his life in Italy, where he had collected a good many valuable pictures and some very poor ones, the latter class including several from his own hand. He was the hero of a remarkable episode, having succeeded no less a person than Vittorio Alfieri in the affections of no less a person than Louise de Stolberg, Countess of Albany, widow of no less a person than Charles Edward Stuart, the second pretender to the British crown. Surely no woman ever was associated sentimentally with three figures more diverse, - a disqualified sovereign, an Italian dramatist, and a bad French painter. The productions of M. Fabre, who followed in the steps of David, bear the stamp of a cold mediocrity; there is not much to be said even for the portrait of the genial countess (her life has been written by M. Saint-Rene-Taillandier, who depicts her as delightful), which hangs in Florence, in the gallery of the Uffizzi, and makes a pendant to a likeness of Alfieri by the same author. Stendhal, in his "Memoires d'un Touriste," says that this work of art represents her as a cook who has pretty hands. I am delighted to have an opportunity of quoting Stendhal, whose two volumes of the "Memoires d'un Touriste" every traveller in France should carry in his portmanteau. I have had this opportunity more than once, for I have met him at Tours, at Nantes, at Bourges; and everywhere he is suggestive. But he has the defect that he is never pictorial, that he never by any chance makes an image, and that his style is perversely colorless, for a man so fond of contemplation. His taste is often singularly false; it is the taste of the early years of the present century, the period that produced clocks surmounted with sentimental "subjects." Stendhal does not admire these clocks, but he almost does. He admires Domenichino and Guercino, and prizes the Bolognese school of painters because they "spoke to the soul." He is a votary of the new classic, is fond of tall, squire, regular buildings, and thinks Nantes, for instance, full of the "air noble." It was a pleasure to me to reflect that five-and-forty years ago he had alighted in that city, at the very inn in which I spent a night, and which looks down on the Place Graslin and the theatre. The hotel that was the best in 1837 appears to be the best to-day. On the subject of Touraine, Stendhal is extremely refreshing; he finds the scenery meagre and much overrated, and proclaims his opinion with perfect frankness. He does, however, scant justice to the banks of the Loire; his want of appreciation of the picturesque - want of the sketcher's sense - causes him to miss half the charm of a landscape which is nothing if not "quiet," as a painter would say, and of which the felicities reveal themselves only to waiting eyes. He even despises the Indre, the river of Madame Sand. The "Memoires d'un Touriste" are written in the character of a commercial traveller, and the author has nothing to say about Chenonceaux or Chambord, or indeed about any of the chateaux of that part of France; his system being to talk only of the large towns, where he may be supposed to find a market for his goods. It was his ambition to pass for an ironmonger. But in the large towns he is usually excellent company, though as discursive as Sterne, and strangely indifferent, for a man of imagination, to those superficial aspects of things which the poor pages now before the reader are mainly an attempt to render. It is his conviction that Alfieri, at Florence, bored the Countess of Albany terribly; and he adds that the famous Gallophobe died of jealousy of the little painter from Montpellier. The Countess of Albany left her property to Fabre; and I suppose some of the pieces in the museum of his native town used to hang in the sunny saloons of that fine old palace on the Arno which is still pointed out to the stranger in Florence as the residence of Alfieri.
The institution has had other benefactors, notably a certain M. Bruyas, who has enriched it with an extraordinary number of portraits of himself. As these, however, are by different hands, some of them distinguished, we may suppose that it was less the model than the artists to whom M. Bruyas wished to give publicity. Easily first are two large specimens of David Teniers, which are incomparable for brilliancy and a glowing perfection of execution. I have a weakness for this singular genius, who combined the delicate with the grovelling, and I have rarely seen richer examples. Scarcely less valuable is a Gerard Dow which hangs near them, though it must rank lower as having kept less of its freshness. This Gerard Dow did me good; for a master is a master, whatever he may paint. It represents a woman paring carrots, while a boy before her exhibits a mouse-trap in which he has caught a frightened victim. The good-wife has spread a cloth on the top of a big barrel which serves her as a table, and on this brown, greasy napkin, of which the texture is wonderfully rendered, lie the raw vegetables she is preparing for domestic consumption. Beside the barrel is a large caldron lined with copper, with a rim of brass. The way these things are painted brings tears to the eyes; but they give the measure of the Musee Fabre, where two specimens of Teniers and a Gerard Dow are the jewels. The Italian pictures are of small value; but there is a work by Sir Joshua Reynolds, said to be the only one in France, - an infant Samuel in prayer, apparently a repetition of the picture in England which inspired the little plaster image, disseminated in Protestant lands, that we used to admire in our childhood. Sir Joshua, somehow, was an eminently Protestant painter; no one can forget that, who in the National Gallery in London has looked at the picture in which he represents several young ladies as nymphs, voluminously draped, hanging garlands over a statue, - a picture suffused indefinably with the Anglican spirit, and exasperating to a member of one of the Latin races. It is an odd chance, therefore, that has led him into that part of France where Protestants have been least bien vus. This is the country of the dragonnades of Louis XIV. and of the pastors of the desert. From the garden of the Peyrou, at Montpellier, you may see the hills of the Cevennes, to which they of the religion fled for safety, and out of which they were hunted and harried.
I have only to add, in regard to the Musee Fabre, that it contains the portrait of its founder, - a little, pursy, fat-faced, elderly man, whose countenance contains few indications of the power that makes distinguished victims. He is, however, just such a personage as the mind's eye sees walking on the terrace of the Peyrou of an October afternoon in the early years of the century; a plump figure in a chocolate-colored coat and a culotte that exhibits a good leg, - a culotte provided with a watch-fob from which a heavy seal is suspended. This Peyrou (to come to it at last) is a wonderful place, especially to be found in a little provincial city. France is certainly the country of towns that aim at completeness; more than in other lands, they contain stately features as a matter of course. We should never have ceased to hear about the Peyrou, if fortune had placed it at a Shrewsbury or a Buffalo. It is true that the place enjoys a certain celebrity at home, which it amply deserves, moreover; for nothing could be more impressive and monumental. It consists of an "elevated platform," as Murray says, - an immense terrace, laid out, in the highest part of the town, as a garden, and commanding in all directions a view which in clear weather must be of the finest. I strolled there in the intervals of showers, and saw only the nearer beauties, - a great pompous arch of triumph in honor of Louis XIV. (which is not, properly speaking, in the garden, but faces it, straddling across the place by which you approach it from the town), an equestrian statue of that monarch set aloft in the middle of the terrace, and a very exalted and complicated fountain, which forms a background to the picture. This fountain gushes from a kind of hydraulic temple, or chateau d'eau, to which you ascend by broad flights of steps, and which is fed by a splendid aqueduct, stretched in the most ornamental and unexpected manner across the neighboring valley. All this work dates from the middle of the last century. The combination of features - the triumphal arch, or gate; the wide, fair terrace, with its beautiful view; the statue of the grand monarch; the big architectural fountain, which would not surprise one at Rome, but goes surprise one at Montpellier; and to complete the effect, the extraordinary aqueduct, charmingly fore-shortened, - all this is worthy of a capital, of a little court-city. The whole place, with its repeated steps, its balustrades, its massive and plentiful stone-work, is full of the air of the last century, - sent bien son dix-huitieme siecle; none the less so, I am afraid, that, as I read in my faithful Murray, after the revocation of the Edict of Nantes, the block, the stake, the wheel, had been erected here for the benefit of the desperate Camisards.