decaying, counts for much in the carved material of the window-casings
and the pillars, above which grotesque faces look down, while shapes
of fantastic beasts climb up the angles, animated by that great
thought of Art, which in those old days gave life to inanimate nature.
These relics, resisting change, present to the eye of painters those
dusky tones and half-blurred features in which the artistic brush
delights.

The streets are what they were four hundred years ago,--with one
exception; population no longer swarms there; the social movement is
now so dead that a traveller wishing to examine the town (as beautiful
as a suit of antique armor) may walk alone, not without sadness,
through a deserted street, where the mullioned windows are plastered
up to avoid the window-tax. This street ends at a postern, flanked
with a wall of masonry, beyond which rises a bouquet of trees planted
by the hands of Breton nature, one of the most luxuriant and fertile
vegetations in France. A painter, a poet would sit there silently, to
taste the quietude which reigns beneath the well-preserved arch of the
postern, where no voice comes from the life of the peaceful city, and
where the landscape is seen in its rich magnificence through the
loop-holes of the casemates once occupied by halberdiers and archers,
which are not unlike the sashes of some belvedere arranged for a point
of view.

It is impossible to walk about the place without thinking at every
step of the habits and usages of long-past times; the very stones tell
of them; the ideas of the middle ages are still there with all their
ancient superstitions. If, by chance, a gendarme passes you, with his
silver-laced hat, his presence is an anachronism against which your
sense of fitness protests; but nothing is so rare as to meet a being