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Chapter XXVIII
ORLÉANS

There is some sight-seeing to be done in Meung, but we were too anxious to get to Orléans to stop for it. Yet we did not hurry through our last summer morning along the Loire. I do not know what could be more lovely than our leisurely hour – the distance was fifteen miles – under cool, outspreading branches, with glimpses of the bright river and vistas of happy fields.

We did not even try to imagine, as we approached the outskirts, that the Orléans of Joan's time presented anything of its appearance to-day. Orléans is a modern, or modernized, city, and, except the river, there could hardly be anything in the present prospect that Joan saw. That it is the scene of her first military conquest and added its name to the title by which she belongs to history is, however, enough to make it one of the holy places of France.

It has been always a military city, a place of battles. Cæsar burned it, Attila attacked it, Clovis captured it – there was nearly always war of one sort or another going on there. The English and Burgundians would have had it in 1429 but for the arrival of Joan's army. Since then war has visited Orléans less frequently. Its latest experience was with the Germans who invested it in 1870-71.

Joan was misled by her generals, whose faith in her was not complete. Orléans lies on the north bank of the Loire; they brought her down on the south bank, fearing the prowess of the enemy's forces. Discovering the deception, the Maid promptly sent the main body of her troops back some thirty-five miles to a safe crossing, and, taking a thousand men, passed over the Loire and entered the city by a gate still held by the French. That the city was not completely surrounded made it possible to attack the enemy simultaneously from within and without, while her presence among the Orléanese would inspire them with new hope and valor. Mark Twain in his Recollections pictures the great moment of her entry.

It was eight in the evening when she and her troops rode in at the Burgundy gate… She was riding a white horse, and she carried in her hand the sacred sword of Fierbois. You should have seen Orléans then. What a picture it was! Such black seas of people, such a starry firmament of torches, such roaring whirlwinds of welcome, such booming of bells and thundering of cannon! It was as if the world was come to an end. Everywhere in the glare of the torches one saw rank upon rank of upturned white faces, the mouths wide open, shouting, and the unchecked tears running down; Joan forged her slow way through the solid masses, her mailed form projecting above the pavement of heads like a silver statue. The people about her struggled along, gazing up at her through their tears with the rapt look of men and women who believe they are seeing one who is divine; and always her feet were being kissed by grateful folk, and such as failed of that privilege touched her horse and then kissed their fingers.

This was the 29th of April. Nine days later, May 8, 1429, after some fierce fighting during which Joan was severely wounded, the besiegers were scattered, Orléans was free. Mark Twain writes:

No other girl in all history has ever reached such a summit of glory as Joan of Arc reached that day… Orléans will never forget the 8th of May, nor ever fail to celebrate it. It is Joan of Arc's day – and holy.

Two days, May 7th and 8th, are given each year to the celebration, and Orléans in other ways has honored the memory of her deliverer. A wide street bears her name, and there are noble statues, and a museum, and holy church offerings. The Boucher home which sheltered Joan during her sojourn in Orléans has been preserved; at least a house is still shown as the Boucher house, though how much of the original structure remains no one at this day seems willing to decide.

We drove there first, for it is the only spot in Orléans that can claim even a possibility of having known Joan's actual impress. It is a house of the old cross-timber and brick architecture, and if these are not the veritable walls that Joan saw they must at least bear a close resemblance to those of the house of Jacques Boucher, treasurer of the Duke of Orléans, where Joan was made welcome. The interior is less convincing. It is ecclesiastical, and there is an air of general newness and reconstruction about it that suggests nothing of that long-ago occupancy. It was rather painful to linger, and we were inclined now to hesitate at the thought of visiting the ancient home of Agnes Sorel, where the Joan of Arc Museum is located.

It would have been a mistake not to do so, however. It is only a few doors away on the same street, rue du Tabour, and it is a fine old mansion, genuinely old, and fairly overflowing with objects of every conceivable sort relating to Joan of Arc. Books, statuary, paintings, armor, banners, offerings, coins, medals, ornaments, engravings, letters – thousands upon thousands of articles gathered there in the Maid's memory. I think there is not one of them that her hand ever touched, or that she ever saw, but in their entirety they convey, as nothing else could, the reverence that Joan's memory has inspired during the centuries that have gone since her presence made this sacred ground. Until the revolution Orléans preserved Joan's banner, some of her clothing, and other genuine relics; but then the mob burned them, probably because Joan delivered France to royalty. One finds it rather easy to forgive the revolutionary mob almost anything – certainly anything more easily than such insane vandalism. We were shown an ancient copy of the banner, still borne, I believe, in the annual festivals. Baedeker speaks of arms and armor worn at the siege of Orléans, but the guardian of the place was not willing to guarantee their genuineness. I wish he had not thought it necessary to be so honest. He did show us a photograph of Joan's signature, the original of which belongs to one of her collateral descendants. She wrote it "Jehanne," and her pen must have been guided by her secretary, Louis de Conte, for Joan could neither read nor write.

We drove to the Place Martroi to see the large equestrienne statue of Joan by Foyatier, with reliefs by Vital Dubray. It is very imposing, and the reliefs showing the great moments in Joan's career are really fine. We did not care to hunt for other memorials. It was enough to drive about the city trying to pick out a house here and there that looked as if it might have been standing five hundred years, but if there were any of that age – any that had looked upon the wild joy of Joan's entrance and upon her triumphal departure, they were very few indeed.

Chapter XXIX
FONTAINEBLEAU

We turned north now, toward Fontainebleau, which we had touched a month earlier on the way to Paris. It is a grand straight road from Orléans to Fontainebleau, and it passes through Pithiviers, which did not look especially interesting, though we discovered when it was too late that it is noted for its almond cakes and lark pies. I wanted to go back then, but the majority was against it.

Late in the afternoon we entered for the second time the majestic forest of Fontainebleau and by and by came to the palace and the little town, and to a pretty hotel on a side street that was really a village inn for comfort and welcome. There was still plenty of daylight, mellow, waning daylight, and the palace was not far away. We would not wait for it until morning.

I think we most enjoy seeing palaces about the closing hours. There are seldom any other visitors then, and the waning afternoon sunlight in the vacant rooms mellows their garish emptiness, and seems somehow to bring nearer the rich pageant of life and love and death that flowed by there so long and then one day came to an end, and now it is not passing any more.

It was really closing time when we arrived at the palace, but the custodian was lenient and for an hour we wandered through gorgeous galleries, and salons, and suites of private apartments where queens and kings lived gladly, loved madly, died sadly, for about four hundred years. Francis I built Fontainebleau, on the site of a mediæval castle. He was a hunter, and the forests of Fontainebleau, like those of Chambord, were always famous hunting grounds. Louis XIII, who was born in Fontainebleau, built the grand entrance staircase, from which two hundred years later Napoleon Bonaparte would bid good-by to his generals before starting for Elba. Other kings have added to the place and embellished it; the last being Napoleon III, who built for Eugénie the Bijou theater across the court.

It may have been our mood, it may have been the tranquil evening light, it may have been reality that Fontainebleau was more friendly, more alive, more a place for living men and women to inhabit than any other palace we have seen. It was hard to imagine Versailles as having ever been a home for anybody. At Fontainebleau I felt that we were intruding – that Madame de Maintenon, Marie Antoinette, Marie Louise, or Eugénie might enter at any moment and find us there. Perhaps it was in the apartments of Marie Antoinette that one felt this most. There is a sort of personality in the gorgeousness of her bedchamber that has to do, likely enough, with the memory of her tragic end, but certainly it is there. The gilded ceiling sings of her; the satin hangings – a marriage gift from the city of Lyons – breathe of her; even the iron window-fastenings are not without personal utterance, for they were wrought by the skillful hands of the king himself, out of his love for her.

The apartments of the first Napoleon and Marie Louise tell something, too, but the story seems less intimate. Yet the table is there on which Napoleon signed his abdication while an escort waited to take him to Elba.

For size and magnificence the library is the most impressive room in Fontainebleau. It is lofty and splendid, and it is two hundred and sixty-four feet long. It is called the gallery of Diana, after Diana of Poitiers, who for a lady of tenuous moral fiber seems to have inspired some pretty substantial memories. The ballroom, the finest in Europe, also belongs to Diana, by special dedication of Henry II, who decorated it magnificently to suit Diana's charms. Napoleon III gave great hunting banquets there. Since then it has been always empty, except for visitors.

The custodian took us through a suite of rooms called the "Apartments of the White Queens," because once they were restored for the widows of French kings, who usually dressed in white. Napoleon used the rooms for another purpose. He invited Pope Pius VII to Fontainebleau to sanction his divorce from Josephine, and when the pope declined, Napoleon prolonged the pope's visit for eighteen months, secluding him in this luxurious place, to give him a chance to modify his views. They visited together a good deal, and their interviews were not always calm. Napoleon also wanted the pope to sign away the states of the Church, and once when they were discussing the matter rather earnestly the emperor boxed the pope's ears. He had a convincing way in those days. I wonder if later, standing on the St. Helena headland, he ever recalled that incident. If he did, I dare say it made him smile.

The light was getting dim by the time we reached the pretty theater which Louis Napoleon built for Eugénie. It is a very choice place, and we were allowed to go on the stage and behind the scenes and up in the galleries, and there was something in the dusky vacancy of that little playhouse, built to amuse the last empress of France, that affected us almost more than any of the rest of the palace, though it was built not so long ago and its owner is still alive.¹⁷ It is not used, the custodian told us – has never been used since Eugénie went away.

From a terrace back of the palace we looked out on a pretty lake where Eugénie's son used to sail a miniature full-rigged ship – large enough, if one could judge from a picture we saw, to have held the little prince himself. There was still sunlight on the treetops, and these and the prince's little pavilion reflecting in the tranquil water made the place beautiful. But the little vessel was not there. I wished, as we watched, that it might come sailing by. I wished that the prince had never been exiled and that he had not grown up and gone to his death in a South African jungle. I wished that he might be back to sail his ship again, and that Eugénie might have her theater once more, and that Louis Napoleon's hunting parties might still assemble in Diana's painted ballroom and fill the vacant palace with something besides mere curiosity and vain imaginings.

Chapter XXX
RHEIMS

We had meant to go to Barbizon, but we got lost in the forest next morning, and when we found ourselves we were a good way in the direction of Melun, so concluded to keep on, consoling ourselves with the thought that Barbizon is not Barbizon any more, and would probably be a disappointment, anyway. We kept on from Melun, also, after buying some luncheon things, and all day traversed that beautiful rolling district which lies east of Paris and below Rheims, arriving toward evening at Épernay, the Sparnacum of antiquity and the champagne center of to-day. Épernay was ancient once, but it is all new now, with wide streets and every indication of business progress. We had no need to linger there. We were anxious to get to Rheims.

There had been heavy rains in the champagne district, and next morning the gray sky and close air gave promise of more. The roads were not the best, being rather slippery and uneven from the heavy traffic of the wine carts. But the vine-covered hills between Épernay and Rheims, with their dark-green matted leafage, seemed to us as richly productive as anything in France.

We were still in the hills when we looked down on the valley of the Vesle and saw a city outspread there, and in its center the architectural and ecclesiastical pride of the world, the cathedral of Rheims. Large as the city was, that great central ornament dwarfed and dominated its surroundings. Thus Joan of Arc had seen it when at the head of her victorious army she conducted the king to Rheims for his coronation. She was nearing the fulfillment of her assignment, the completion of the great labor laid upon her by the voices of her saints. Mark Twain tells of Joan's approach to Rheims, of the tide of cheers that swept her ranks at the vision of the distant towers:

And as for Joan of Arc, there where she sat her horse, gazing, clothed all in white armor, dreamy, beautiful, and in her face a deep, deep joy, a joy not of earth; oh, she was not flesh, she was spiritual! Her sublime mission was closing – closing in flawless triumph. To-morrow she could say, "It is finished – let me go free."

It was the 16th of July that Joan looked down upon Rheims, and now, four hundred and eighty-five years later, it was again July, with the same summer glory on the woods, the same green and scarlet in the poppied fields, the same fair valley, the same stately towers rising to the sky. But no one can ever feel what Joan felt, can ever put into words, ever so faintly, what that moment and that vision meant to the Domremy shepherd girl.

Descending the plain, we entered the city, crossed a bridge, and made our way to the cathedral square. Then presently we were at the doorway where Joan and her king had entered – the portal which has been called the most beautiful this side of Paradise.

How little we dreamed that we were among the last to look upon it in its glory – that disfigurement and destruction lay only a few weeks ahead!

It is not required any more that one should write descriptively of the church of Rheims. It has been done so thoroughly, and so often, by those so highly qualified for the undertaking, that such supplementary remarks as I might offer would hardly rise even to the dignity of an impertinence. Pergussen, who must have been an authority, for the guidebook quotes him, called it, "perhaps the most beautiful structure produced in the Middle Ages."

Nothing [he says] can exceed the majesty of its deeply recessed portals, the beauty of the rose window that surmounts them, or the elegance of the gallery that completes the façade and serves as a basement to the light and graceful towers that crown the composition.

The cathedral was already two hundred years old when Joan arrived in 1429. But it must have looked quite fresh and new then, for, nearly five centuries later, it seemed to have suffered little. Some of the five hundred and thirty statues of its entrance were weatherworn and scarred, but the general effect was not disturbed.

Many kings had preceded Joan and her sovereign through the sacred entrance. Long before the cathedral was built French sovereigns had come to Rheims for their coronation, to be anointed with some drops of the inexhaustible oil which a white dove had miraculously brought from heaven for the baptism of Clovis. That had been nearly a thousand years before, but in Joan's day the sacred vessel and its holy contents were still preserved in the ancient abbey of St. Remi, and would be used for the anointing of her king. The Archbishop of Rheims and his canons, with a deputy of nobles, had been sent for the awesome relic, after the nobles had sworn upon their lives to restore it to St. Remi when the coronation was over. The abbot himself, attended by this splendid escort, brought the precious vessel, and the crowd fell prostrate and prayed while this holiest of objects, for it had been made in heaven, passed by. We are told that the abbot, attended by the archbishop and those others, entered the crowded church, followed by the five mounted knights, who rode down the great central aisle, clear to the choir, and then at a signal backed their prancing steeds all the distance to the great doors.

It was a mighty assemblage that had gathered for the crowning of Joan's king. France, overrun by an invader, had known no real king for years – had, indeed, well-nigh surrendered her nationality. Now the saints themselves had taken up their cause, and in the person of a young girl from an obscure village had given victory to their arms and brought redemption to their throne. No wonder the vast church was packed and that crowds were massed outside. From all directions had come pilgrims to the great event – persons of every rank, among them two shepherds, Joan's aged father and uncle, who had walked from Domremy, one hundred and twenty miles, to verify with their own eyes what their ears could not credit.

Very likely the cathedral at Rheims has never known such a throng since that day, nor heard such a mighty shout as went up when Joan and the king, side by side, and followed by a splendid train, appeared at the great side entrance and moved slowly to the altar.

I think there must have fallen a deep hush then – a petrified stillness that lasted through the long ceremonial, while every eye feasted itself upon the young girl standing there at the king's side, holding her victorious standard above him – the banner that "had borne the burden and had earned the victory," as she would one day testify at her trial. I am sure that vast throng would keep silence, scarcely breathing, until the final word was spoken and the dauphin had accepted the crown and placed it upon his head. But then we may hear borne faintly down the centuries the roar of renewed shouting that told to those waiting without that the great ceremony was ended, that Charles VII of France had been anointed king. In the Recollections Mark Twain makes the Sieur de Conte say:

What a crash there was! All about us cries and cheers, and the chanting of the choir and the groaning of the organ; and outside the clamoring of the bells and the booming of the cannon.

The fantastic dream, the incredible dream, the impossible dream of the peasant child stood fulfilled.

It had become reality – perhaps in that old day it even seemed reality – but now, after five hundred years, it has become once more a dream – to-day our dream – and in the filmy picture we see the shepherd girl on her knees, saying to the crowned king:

"My work which was given me to do is finished; give me your peace and let me go back to my mother, who is poor and old and has need of me."

But the king raises her up and praises her and confers upon her nobility and titles, and asks her to name a reward for her service, and in the old dream we hear her ask favor for her village – that Domremy, "poor and hard pressed by reason of the war," may have its taxes remitted.

Nothing for herself – no more than that, and in the presence of all the great assemblage Charles VII pronounces the decree that, by grace of Joan of Arc, Domremy shall be free from taxes forever.

Here within these walls it was all reality five hundred years ago. We do not study this interior to discover special art values or to distinguish in what manner it differs from others we have seen. For us the light from its great rose window and upper arches is glorified because once it fell upon Joan of Arc in that supreme moment when she saw her labor finished and asked only that she might return to Domremy and her flocks. The statuary in the niches are holy because they looked upon that scene, the altar paving is sanctified because it felt the pressure of her feet.

We wandered about the great place, but we came back again and again to the altar, and, looking through the railing, dreamed once more of that great moment when a frail shepherd girl began anew the history of France.

Back of the altar was a statue of Joan unlike any we have seen elsewhere, and to us more beautiful. It was not Joan with her banner aloft, her eyes upward. It was Joan with her eyes lowered, looking at no outward thing, her face passive – the saddest face and the saddest eyes in the world. It was Joan the sacrifice – of her people and her king.