the “belles maisons de campagne” in these parts (she was not a guest in royal chateaux, it seems) throw many interesting side lights on the people, the manners and the customs of her time.
Bertin in his “Voyage de Bourgogne” recounts a noble welcome which he received at the chateau of a Burgundian seigneur – “Salvos of musketry, with the seigneur and the ladies of his household awaiting on the perron.” This would have made an ideal stage grouping.
Arthur Young, the English agriculturist, travelling in France just previous to the Revolution, had all manner of comment for the French dwelling of whatever rank, but his observations in general were more with reference to the chaumières of peasants than with the chateaux of seigneurs.
Time was when France was more thickly bestrewn with great monasteries and abbeys than now. They were in many ways the rivals of the palatial country houses of the seigneurs, and their princely abbés and priors and prelates frequently wielded a local power no less militant than that of their secular neighbours.
Great churches, abbeys, monasteries, fortresses, chateaux, donjons and barbican gates are hardly less frequently seen in France to-day than they were of old, although in many instances a ruin only exists to tell the tale of former splendour.
This is as true of Burgundy as it is of other parts of France; indeed, it is, perhaps, a more apt reference here than it would be with regard to Normandy or Picardy, where many a mediæval civic or religious shrine has been made into a warehouse or a beet-sugar factory. The closest comparison of this nature that one can make with respect to these parts is that some Cistercian monastery has become a “wine-chateau” like the Clos Vougeot or Beaune’s Hospice or Hotel Dieu, which, in truth, at certain periods, is nothing more nor less than a great wholesale wine-shop.
Mediæval French towns, as well in Burgundy as elsewhere, were invariably built up on one of three plans. The first was an outgrowth of the remains and débris of a more ancient Gaulish or Roman civilization, and purely civic and secular. The second class of community came as a natural ally of some great abbey, seigneurial chateau, really a fortress or an episcopal foundation which demanded freedom from molestation as its undeniable right. It was in such latter places that the bishops and abbés held forth with a magnificence and splendour of surroundings scarcely less imposing than that of royalty itself, though their domains were naturally more restricted in area and the powers that the prelates wielded were often no less powerful than their militant neighbours. The third class of mediæval settlements were the villes-neuves, or the villes-franches, a class of communities usually exempt from the exactions of seigneurs and churchmen alike, a class of towns readily recognized by their nomenclature.
By the sixteenth century the soil of France was covered with a myriad of residential chateaux which were the admiration and envy of the lords of all nations. There had sprung up beside the old feudal fortresses a splendid galaxy of luxurious dwellings having more the air of domesticity than of warfare, which was the chief characteristics of their predecessors. It was then that the word chateau came to supplant that of chastel in the old-time chronicles.
Richelieu and the Fronde destroyed many a mediæval fane whose ruins were afterwards rebuilt by some later seigneur into a Renaissance palace of great splendour. The Italian builder lent his aid and his imported profusion of detail until there grew up all over France a distinct variety of dwelling which quite outdistanced anything that had gone before. This was true in respect to its general plan as well as with regard to the luxury of its decorative embellishments. Fortresses were razed or remodelled, and the chateau – the French chateau as we know it to-day, distinct from the chastel– then first came into being.
Any review of the castle, chateau and palace architecture of France, and of the historic incident and the personages connected therewith, is bound to divide itself into a geographical or climatic category. To begin with the manner of building of the southland was only transplanted in northern soil experimentally, and it did not always take root so vigorously that it was able to live.
The Renaissance glories of Touraine and the valley of the Loire, though the outcome of various Italian pilgrimages, were of a more florid and whimsical fashioning than anything in Italy itself, either at the period of their inception or even later, and so they are to be considered as something distinctly French, – indeed, it was their very influence which was to radiate all over the chateau-building world of the fourteenth, fifteenth and sixteenth centuries.
By contrast, the square and round donjon towers of the fortress-chateaux – like Arques, Falais and Coucy – were more or less an indigenous growth taking their plan from nothing alien. Midi and the centre of France, Provence, the Pyrenees and the valleys of the Rhône and Saône, gave birth, or development, to still another variety of mediæval architecture both military and domestic, whilst the Rhine provinces developed the species along still other constructional lines.
There was, to be sure, a certain reminiscence, or repetition of common details among all extensive works of mediæval building, but they existed only by sufferance and were seldom incorporated as constructive elements beyond the fact that towers were square or round, and that the most elaborately planned chateaux were built around an inner courtyard, or were surrounded by a fosse, or moat.
In Burgundy and the Bourbonnais, and to some extent in the Nivernais, there grew up a distinct method of castle-building which was only allied with the many other varieties scattered over France in the sense that the fabrics were intended to serve the same purposes as their contemporaries elsewhere. The solid square shafts flanking a barbican gate, – the same general effect observable of all fortified towns, – the profuse use of heavy Renaissance sculpture in town houses, the interpolated Flemish-Gothic (seen so admirably at Beaune and Dijon), and above all, the Burgundian school of sculptured figures and figurines were details which flowered hereabouts as they did nowhere else.
So far as the actual numbers of the edifices go it is evident that throughout Burgundy ecclesiastical architecture developed at the expense of the more luxuriously endowed civic and domestic varieties of Touraine, which, we can not deny, must ever be considered the real “chateaux country.” In Touraine the splendour of ecclesiastical building took a second place to that of the domestic dwelling, or country or town house.
For the most part, the Romanesque domestic edifice has disappeared throughout Burgundy. Only at Cluny are there any very considerable remains of the domestic architecture of the Romans, and even here there is nothing very substantial, no tangible reminder of the palace of emperor or consul, only some fragments of more or less extensive edifices which were built by the art which the Romans brought with them from beyond the Alps when they overran Gaul. If one knows how to read the signs, there may still be seen at Cluny fragments of old Roman walls of stone, brick, and even of wood, and the fact that they have already stood for ten or a dozen centuries speaks much for the excellence of their building. It was undoubtedly something just a bit better than the modern way of doing things.
Of all the domestic edifices of Burgundy dating from the thirteenth century or earlier, that enclosing the “cuisines” (the only name by which this curious architectural detail is known) of the old palace of the dukes at Dijon is credited by all authorities as being quite the most remarkable, indeed, the most typical, of its environment. After this comes the Salle Synodale at Sens. These two, showing the civic and domestic details of the purely Burgundian manner of building, represent their epoch at its very best.
In Dauphiny and Savoy, and to a certain extent the indeterminate ground of Bresse, Dombes and Bugey which linked Burgundy therewith, military and civic architecture in the middle ages took on slightly different forms. Nevertheless, the style was more nearly allied to that obtaining in mid-France than to that of the Midi, or to anything specifically Italian in motive, although Savoy was for ages connected by liens of blood with the holder of the Italian crown.
It was only in 1792 that Savoy became a French Département,
