Few travellers in this part of Eastern France turn off the Great Mulhouse line of railway to visit the ancient city of Provins, yet none with a love of the picturesque can afford to pass it by. Airily, nay, coquettishly perched on its smiling, green eminence, and still possessed of an antique stateliness, in striking contrast with the busy little trim town that has sprung up at his feet, Provins captivates the beholder by virtue alike of its uniqueness and poetic charm; I can think of nothing in my various travels at all like this little Acropolis of Brie and Champagne, whether seen in a distance in the railway, or from the ramparts that still encircle it as in the olden time. It is indeed a gem; miniature Athens of a mediaeval princedom, that although on a small scale boasted of great power and splendour; tiny Granada of these Eastern provinces, bearing ample evidence of past literary and artistic glories!

You quit the main line at Longueville, and in a quarter of an hour come upon a vast panorama, crowned by the towers and dome of the still proud, defiant-looking little city of Provins, according to some writers the Agedincum of Caesar's Commentaries, according to others more ancient still. It is mentioned in the capitularies of Charlemagne, and in the Middle Ages was the important and flourishing capital of Basse-Brie and residence of the Counts of Champagne. Under Thibault VI., called Le Chansonnier, Provins reached its apogee of prosperity, numbering at that epoch 80,000 souls. Like most other towns in these parts, it suffered greatly in the Hundred Years' War, being taken by the English in 1432, and retaken from them in the following year. It took part in the League, but submitted to Henry IV. in 1590, and from that time gradually declined; at present it numbers about 7,000 inhabitants only.

The rich red rose, commonly called Provence rose, is in reality the rose of Provins, having been introduced here by the Crusaders from the Holy Land. Gardens of the Provins rose may still be found at Provins, though they are little cultivated now for commercial purpose; Provence, the land of the Troubadours, has therefore no claim whatever upon rose lovers, who are indebted instead to the airy little Acropolis of Champagne. Thus much for the history of the place, which has been chronicled by two gifted citizens of modern time, Opoix and Bourquelot.

It is difficult to give any idea of the citadel, so imposingly commanding the wide valleys and curling rivers at its foot. Leaving the Ville Basse, we climb for a quarter of an hour to find all the remarkable monuments of Provins within a stone's throw—the College, formerly Palace of the Counts of Champagne, the imposing Tour de CÉsar, the Basilica of St. Quiriace with its cupola, the famous Grange aux DÎmes, the ancient fountain, lastly, the ruined city and gates and walls, called the Ville Haute. All these are close together, but conspicuously towering over the rest are the dome of St. Quiriace, and the picturesque, many pinnacled stronghold vulgarly known as Caesar's Tower. These two crown, not only the ruins, but the entire landscape, for miles around with magnificent effect. The tower itself, in reality having nothing to do with its popular name whatever, but the stronghold of the place built by one of the Counts of Champagne, is a picturesque object, with graceful little pinnacles connected by flying buttresses at each corner, and pointed tower surmounting all, from which now waves proudly the Tricolour flag of the French Republic. A deaf and dumb girl leads visitors through a little flower-garden into the interior, and takes them up the winding stone staircase to see the cells in which Louis d'Outremer and others are said to have been confined. For my own part, I prefer neither to go to the top and bottom of things, neither to climb the Pyramids nor to penetrate into the Mammoth caves of Kentucky. It is much more agreeable, and much less fatiguing, to view everything from the level, and this fine old structure, called Caesar's Tower, is no exception to the rule. Nothing can be more picturesque than its appearance from the broken ground around, above, and below, and no less imposing is the quaint straggling indescribable old church of St. Quiriace close by, now a mere patchwork of different epochs, but in the twelfth and thirteenth centuries one of the most remarkable religious monuments in Brie and Champagne. Here was baptized Thibault VI., the song-maker, the lover of art, the patron of letters, and the importer into Europe of the famous Provence rose; of Thibault's poetic creations an old chronicler wrote:

"C'Était les plus belles chansons, les plus dÉlectables et mÉlodieuses qui oncques fussent ouÏses en chansons et instruments, et il les fit Écrire en la salle de Provins et en celle de Troyes."

Close to this ancient church is the former palace of Thibault, now a "CollÉge Communal," for classic and secondary instruction. Unfortunately the director had gone off for his holiday taking the keys, with him—travellers never being looked for here—so that we could not see the interior and chapel. It is superbly situated, commanding from the terrace a wide view of surrounding country. Perhaps, however, the most curious relics of ancient Provins are the vast and handsome subterranean chambers and passages which are not only found in the Grange aux DÎmes literally Tithe-Barn, but also under many private dwellings of ancient date.

Those who love to penetrate into the hovels of the earth may here visit cave after cave, and subterranean chamber after chamber; some of these were of course used for the storage and introduction of supplies in time of war and siege, others may have served as crypts, for purposes of religious ceremony, also a harbour of refuge for priests and monks, lastly as workshops. Provins may therefore be called not only a town but a triple city, consisting, first, of the old; secondly, of the new; lastly, of the underground. Captivating, from an artistic and antiquarian point of view, as are the first and last, all lovers of progress will not fail to give some time to the modern part, not, however, omitting the lovely walls round the ramparts, before quitting the region of romance for plain matter of fact. Here you have unbroken solitude and a wide expanse of open country; you also get a good idea of the commanding position of Provins.

A poetic halo still lingers round the rude times of Troubadour and Knight, but fortunately no such contrast can now be found—at least in France—as there existed between court and people, lord and vassal. The princelings of Brie and Champagne, who lived so jollily and regally in this capital of Provins, knew how to grind down the people to the uttermost, and levied toll-tax upon every imaginable pretext. The Jew had to pay them for his heresy, the assassin for his crime, the peasant for his produce, the artizan for his right to pursue a handicraft.

Now all is good feeling, peace, and prosperity in this modern town, where alike are absent signs of great wealth or great poverty. As yet I am still in a region without a beggar.

Provins affords an excellent example of that spirit of decentralization so usual in France, and unhappily so rare among ourselves. Here in a country town, numbering between seven and eight thousand inhabitants only, we find all the resources of a capital on a small scale; Public Library, Museum, Theatre, learned societies. The Library contains some curious MSS. and valuable books. The Theatre was built by one of the richest and most generous citizens of Provins, M. Gamier, who may be said to have consecrated his ample fortune to the embellishment and advancement of his native town. Space does not permit of an enumeration of the various acts of beneficence by which he has won the lasting gratitude of his fellow-townsmen; and on his death the charming villa he now inhabits, with its gardens, library, art and scientific collections, are to become the property of the town. The Rue Victor Garnier has been appropriately named after this public-spirited gentleman.

There are relics of antiquity to be found in the modern town also; nor have I given anything like a complete account of what is to be found in the old. No one who takes the trouble to diverge from the beaten track in order to visit this interesting little city—Weimar of the Troubadours—will be disappointed. I may add, by the way, that the HÔtel de la Boule d'Or, though homely, is comfortable, and that in this out of the way corner the English traveller is invited to partake of the famous "BiÈre de Bass."

From Provins to Troyes is a three hours' journey by rail; and at Troyes, no matter how impatient the tourist may be to breathe the air of the mountains, he must stop awhile. Here there is so much to see in the way of antiquities that several days might be spent profitably and pleasantly, but for the hotels, of which I have little favourable to say. "Dear and dirty," is the verdict I must pass on the one recommended to me as the best; the fastidious traveller will do well, therefore, so to arrange his journey as to reach Troyes at early morning, and start off again at night; though, of course, such an arrangement will only allow of a hasty glimpse of the various treasures offered to him. Take the churches, for instance. Besides the Cathedral, there are six old churches, each of which has some especial interest, and all deserve to be seen in detail. Then there are picturesque mediaeval houses, one of the first libraries in France, a museum, picture-gallery, &c.

The town itself is cheerful, with decorative bits of window-gardening, hanging dormers, abundance of flowers growing everywhere, and much life animating its old and new quarters. The Cathedral, which rises grandly from the monotonous fields of Champagne, just as Ely towers above the flat plains of our Eastern counties, is also seen to great advantage from the quays, though, when approached nearly, you find it hemmed in with narrow streets. Its noble towers, surmounted by airy pinnacles, and its splendid faÇade, delight the eye no less than the interior—gem of purest architecture blazing from end to end with rich old stained glass. No light here penetrates through the common medium, and the effect is magical; the superb rose and lancet windows, not dazzling, rather captivating the vision with the hues of the rainbow, being made up, as it seems, with no commoner materials than sapphire, emerald, ruby, topaz, amethyst, all these in the richest imaginable profusion. Other interiors are more magnificent in architectural display, none are lovelier than this, and there is nothing to mar the general harmony, no gilding or artificial flowers, no ecclesiastical trumpery, no meretricious decoration. We find here the glorious art of painting on glass in its perfection, and some of the finest in the Cathedral, as well as in other churches here, are the work of a celebrated Troyen, Linard Gonthier.

A sacristan is always at hand to exhibit the treasury, worth, so it is said, some millions of francs, and which is to be commended to all lovers of jewels and old lace. The latter, richest old guipure, cannot be inspected by an amateur, or, indeed, a woman, without pangs. Such treasures as these, if not appropriated to their proper use, namely dress and decoration, should, at least, be exhibited in the Town Museum, where they might be seen and studied by the artistic. There are dozens of yards of this matchless guipure, but, of course, few eyes are ever rejoiced by the sight of it; and as I turned from one treasure to another, gold and silver ecclesiastical ornaments, carved ivory coffers, enamels, cameos, embroideries, inlaid reliquaries and tapestries, I was reminded of a passage in Victor Hugo's last poem—Le Pape—wherein the Pope of his imagination, thus makes appeal to the Cardinals and Bishops in conclave:

"PrÊtre, À qui donc as-tu pris tes richesses? Aux pauvres.
Quand l'or s'enfle dans ton sac, Dieu dans ton coeur dÉcroit;
Apprends qu'on est sans pain et sache qu'on a froid.
Les jeunes filles vont rÔdant le soir dans l'ombre,
Tes rochets, tes chasubles, aux topazes sans nombre,
Ta robe en l'Orient dorÉ s'Épanouit,
Sont de spectres qui sont noirs et vivant la nuit.
Que te sert d'empiler sur des planches d'armoires,
Du velours, du damas, du satin, de la moire,
D'avoir des bonnets d'or et d'emplir des tiroirs
Des chapes qu'on dirait couvertes de miroirs?
Oh! pauvres, que j'entends rÂler, forÇats augustes,
Tous ces trÉsors, chez vous sacrÉs, chez nous sont injustes;
Ce diamant qui met À la mitre un Éclair,
Cette Émeraude me semble errer toute la mer,
Ces resplendissements sombres de pierreries,
C'est votre sang …
… BrodÉs d'or, cousus d'or, chaussÉs d'or, coiffÉs d'or,
Nous avons des saints Jeans et des saintes Maries,
Que nous emmaillottons dans des verroteries,
Nous dÉpensons Golconde À vÊtir le nÉant,
… PrÊtres, votre richesse est un crime flagrant.
Vos erreurs sont-ils mÉchants? Non, vos tÊtes sont dÛres,
FrÈres, j'avais aussi sur moi ce tas d'ordures,
Des perles, des onyx, des saphirs, des rubis,
Oui, j'avais sur moi, partout, sur mes habits,
Sur mon Âme; mais j'ai vidÉ bien vite
Chez les pauvres."

The sacristan exhibited a tooth of St. Peter and skulls of the saints, but these are treasures we can look on without envy. This little Museum—as, indeed, the Treasury may be called—exposed at the Paris Exhibition of 1867 one of its richest objects, the reliquary of St. Bernard and St. Malachi, a chef-d'oeuvre of the twelfth century; but as some of the jewels were stolen upon that occasion, nothing this year, very naturally, found its way from Troyes Cathedral to the TrocadÉro.

Close to the Cathedral are the Town Library, Museum, and Picture Gallery, the two first well worth careful inspection. The famous Library has largely contributed to the historic galleries of the TrocadÉro; but, nevertheless, many exquisite specimens of binding, printing, and illuminating remain; whilst the windows are adorned with most curious and beautiful old glass paintings from the hand of the gifted Linard Gonthier before mentioned. It is hardly necessary to say that strangers are admitted to all the privileges of the reading-room without any form whatever. The library contains a hundred and some odd thousand volumes, besides between two and three thousand rare MSS.

The present population of Troyes is forty thousand; and I am not aware of any small town in England so well off in the matter of books. The Museum is divided into several sections, and, though of recent date, it possesses some interesting and valuable collections. Near the Library and Museum is the most beautiful old church in Troyes, St. Urbain, but as it is unfortunately in the hands of the restorer, we can see nothing of the interior, and the splendid Gothic faÇade is partly hidden by scaffolding. The traveller may next proceed on a voyage of discovery, coming upon the picturesque HÔtel de Ville; quaint relics of mediaeval architecture, and half a dozen old churches, all noteworthy from some point of view.

It is impossible to do more than suggest the rewards that await such an explorer. Troyes, like Angers and Poitiers, abounds in architectural treasures and historical souvenirs; and all these cities cannot be visited too soon. Restoration and renovation are here, as elsewhere, the order of the day, and every year takes something from their character and charm. Two objects, particularly striking amongst so many, shall be mentioned only, as no mere description can convey any idea of the whole. The first is the entrance hall of the HÔtel Vauluisant, the features of which should be photographed for the benefit of art-schools and art-decorators generally. The first is a magnificent oak ceiling; the second, a Renaissance chimney piece in carved wood, no less magnificent. The solidity, richness of design, and workmanship of both ceiling and mantel-piece afford an invaluable lesson to artists, whilst beholders can but examine them without a feeling of sadness.

How little we have in modern art-furniture and decoration to be compared with such an achievement: Here we find that cost, labour, and display went for nothing, and artistic perfection alone was aimed at. Not far from the HÔtel Vauluisant is Ste. Madeleine, the most ancient church in Troyes, originally Gothic, but now, what with dilapidations and restorations, a curious medley of all various styles. To its architecture, however, the traveller will pay little heed, his whole attention being at once transferred to the famous jubÉ, or rood-loft, or what passes by that name. Bather let me call it a curtain of rare lace cut out in marble, a screen of transparent ivory, a light stalactite roof of some fairy grotto!

On entering, you see nothing but this airy piece of work, one of the daintiest, richest creations of the period, the achievement of Juan Gualde in the sixteenth century. The proportions of the interior seem to diminish, and we cannot help fancying that the church was built for the rood-loft, rather than the rood-loft for the church, so dwarfed is the latter by comparison. The centre aisle is indeed bridged over by a piece of stone-carving, so exquisite in design, so graceful in detail, so airy and fanciful in conception, that we are with difficulty brought to realize its size and solidity. This unique rood-loft measures over six yards in depth, is proportionately long, and is symmetrical in every part, yet it looks as if a breath were only needed to disperse its delicate galleries, hanging arcades, and miniature vaults, gorgeous painted windows forming the background—jewels flashing through a veil of guipure. English travellers may be reminded that Shakespeare's favourite hero, Henry V., was married to Katherine of France in the ancient church of St. Jean at Troyes, now the oldest congeries of different kinds of architecture. The betrothal took place before the high altar of Troyes Cathedral. Lovers of old stained glass must visit St. Nizier and other old churches here; all possess some peculiar interest either within or without.

Troyes—from the standard weight of which we have our Troy weight—is the birth-place of many illustrious men. Mignard the painter, Girardon, sculptor, whose monument to Richelieu in the church of the Sorbonne will not fail to be visited by English travellers, and of the famous painter on glass, Linard Gonthier, who had engraved on his tomb that he awaited the Last Day,

"Sans peur d'Être ÉcrasÉ."

Among minor accomplishments of the Troyen of to-day, it may be mentioned that nowhere throughout all France—land par excellence of good washing and clear-starching—is linen got up to such perfection as at Troyes. The Blanchisserie Troyenne is unhappily an art unknown in England. It is curious that, much as cleanliness is thought of among ourselves, we are content to wear linen washed and ironed so execrably as we do. Clean linen in England means one thing, in France another; and no French maid or waiter would put on the half-washed, half-ironed linen we aristocratic insulars wear so complacently. Here indeed is a field for female enterprize!

From Troyes to Belfort is a journey best made by night-mail express, as there is little to see on the way; nor need Belfort—famous for its heroic defence under Danfert, and its rescue from Prussian grasp by the no less heroic pleadings of Thiers—detain the traveller. It is pleasant to find here, as at Troyes, a Rue Thiers, and to see Thiers' portrait in every window. If there is one memory universally adored and respected throughout France, it is that of the "petit bourgeois." No one who gets a glimpse of Belfort with its double ramparts and commanding position, will wonder at Thiers' pertinacity on the one hand, and Bismarck's reluctance on the other. Fortunately the "petit bourgeois" gained his point, and the preservation of Belfort to France was the one drop of comfort in that sea of misery.