PART II.

I. /The Champagne Vinelands--The Vineyards of the River./ The vinelands in the neighbourhood of Epernay--Viticultural area of the Champagne--A visit to the vineyards of 'golden plants'--The Dizy vineyards--Antiquity of the Ay vineyards--St. Tresain and the wine-growers of Ay--The Ay vintage of 1871--The Mareuil vineyards and their produce--Avernay; its vineyards, wines, and ancient abbey--The vineyards of Mutigny and Cumières--Damery and 'la belle hôtesse' of Henri Quatre--Adrienne Lecouvreur and the Maréchal de Saxe's matrimonial schemes--Pilgrimage to Hautvillers--Remains of the Royal Abbey of St. Peter--The ancient church--Its quaint decorations and monuments--The view from the heights of Hautvillers--The abbey vineyards and wine-cellars in the days of Dom Perignon--The vinelands of the Côte d'Epernay--Pierry and its vineyard cellars--The Moussy, Vinay, and Ablois St. Martin vineyards--The Côte d'Avize--Chavot, Monthelon, Grauves, and Cuis--The vineyards of Cramant and Avize, and their light delicate white wines--The Oger and Le Mesnil vineyards--Vertus and its picturesque ancient remains--Its vineyards planted with Burgundy grapes from Beaune--The red wine of Vertus a favourite beverage of William III. of England. [Illustration: CHÂTEAU DE BOURSAULT.] With the exception of certain famous vineyards of the Rhône, the vinelands of the Champagne may, perhaps, be classed among the most picturesque of the more notable vine-districts of France. Between Paris and Epernay, even, the banks of the Marne present a series of scenes of quiet beauty. The undulating ground is everywhere cultivated like a garden. Handsome châteaux and charming country houses peep out from amid luxuriant foliage. Picturesque antiquated villages line the river's bank or climb the hill-sides, and after leaving La Ferté-sous-Jouarre, the cradle of the Condés, all the more favoured situations commence to be covered with vines. This is especially the case in the vicinity of Château-Thierry--the birthplace of La Fontaine--where the view is shut in on all sides by vine-clad slopes, which the spring frosts seldom spare. Hence merely one good vintage out of four gladdens the hearts of the peasant proprietors, who find eager purchasers for their produce among the lower-class manufacturers of Champagne. In the same way the _petit vin de Chierry_, dexterously prepared and judiciously mingled with other growths, often figures as 'Fleur de Sillery' or 'Ay Mousseux.' In reality it is not until we have passed the ornate modern Gothic château of Boursault, erected in her declining years by the wealthy Veuve Clicquot, by far the shrewdest manipulator of the sparkling products of Ay and Bouzy of her day, and the many towers and turrets of which, rising above umbrageous trees, crown the loftiest height within eyeshot of Epernay, that we find ourselves in that charmed circle of vineyards whence Champagne--the wine, not merely of princes, as it has been somewhat obsequiously termed, but essentially the _vin de société_--is derived. The vinelands in the vicinity of Epernay, and consequently near the Marne, are commonly known as the 'Vineyards of the River,' whilst those covering the slopes in the neighbourhood of Reims are termed the 'Vineyards of the Mountain.' The Vineyards of the River comprise three distinct divisions--first, those lining the right bank of the Marne and enjoying a southern and south-eastern aspect, among which are Ay, Hautvillers, Cumières, Dizy, and Mareuil; secondly, the Côte d'Epernay on the left bank of the river, of which Pierry, Moussy, and Vinay form part; and thirdly, the Côte d'Avize (the region _par excellence_ of white grapes), which stretches towards the south-east, and includes the vinelands of Cramant, Avize, Oger, Le Mesnil, and Vertus. The entire vineyard area is upwards of 40,000 acres.[378] The Champagne vineyards most widely celebrated abroad are those of Ay and Sillery, although the last named are really the smallest in the Champagne district. Ay, distant only a few minutes by rail from Epernay, is in the immediate centre of the Vinelands of the River, having Mareuil and Avenay on the east, and Dizy, Hautvillers, and Cumières on the west; while Sillery lies at the foot of the so-called Mountain of Reims, and within an hour's drive of the old cathedral city. It was on one of those occasional sunshiny days in the early part of October[379] when we first visited Ay--the vineyard of 'golden plants,' the unique _premier cru_ of the Wines of the River--and the various adjacent vinelands. The road lay between two rows of closely-planted poplar-trees reaching almost to the village of Dizy, whose quaint gray church-tower, with its gabled roof, is dominated by the neighbouring vine-clad slopes, which extend from Avenay to Venteuil, some few miles beyond Hautvillers, the cradle, so to speak, of the _vin mousseux_ of the Champagne. The vineyards of Dizy, the upper soil of which is largely mixed with loose stones, have chiefly a southern or western aspect, and, excepting in the case of the precipitous height suggestively styled 'Grimpe Chat,' their incline is generally a gentle one. In these vineyards, which rank among the _premiers crus_ of the Champagne, a quantity of wine from white grapes is regularly made. From Dizy the road runs immediately at the base of vine-clad slopes, broken up occasionally by a conical peak detaching itself from the mass, and tinted from base to summit with richly-variegated hues, among which deep purple, yellow, green, gray, and crimson by turns predominate. On our right hand we pass a vineyard called Le Léon, which tradition asserts to be the one whence Pope Leo the Magnificent, the patron of Michael Angelo, Raffaelle, and Da Vinci, drew his supply of Ay wine. The village of Ay lies immediately before us at the foot of the slopes of vines, with the tapering spire of its ancient church rising above the neighbouring hills and cutting sharply against the bright blue sky. The vineyards, which spread themselves over a calcareous declivity, have mostly a full southern aspect, and the predominating vines are those known as golden plants, the fruit of which is of a deep purple colour. After these comes the _plant vert doré_, and then a moderate proportion of the _plant gris_, white varieties of grapes being no longer cultivated as formerly.[380] [Illustration: DIZY AND ITS VINEYARD SLOPES.] The Ay vineyards are mentioned in a charter of Edmund of Lancaster, son of our Henry II. and guardian of Jehanne, heiress of Henri le Gros, Count of Champagne, dated 1276, and confirming the right of the Abbey of Avenay to four hogsheads of wine from the _terroir_ of Ay.[381] If faith, however, may be placed in monkish legends, their existence dates back to the sixth century, at which epoch St. Tresain, the patron saint of Avenay and a contemporary of St. Remi, emigrated to the Champagne from Scotland. Having given away all he possessed in charity, he became perforce a swineherd at Mutigny, a village on the summit of the hill overlooking Ay, Mareuil, and Avenay. One day the vine-growers of Ay, hearing that St. Remi was at Ville-en-Selve, sought him out, and clamorously accused St. Tresain of neglecting to look after his pigs, which had devastated the vineyards on the slopes, and so caused great loss to the community. When called upon for his defence, St. Tresain acknowledged that he was wont to listen in the church-porch to the celebration of mass, and to forget on these occasions all such sublunary matters as swine. St. Remi, finding him so deeply religious, not only forgave him his negligence and relieved him from his porcine charge for the future, but appointed him parish priest of Mareuil and Mutigny, the inhabitants of which, it is to be hoped, received more attention from him than his pigs had done. St. Tresain, although his promotion was brought about by the complaint of the men of Ay, retorted on the latter in a vindictive and unsaintly spirit, for he ill-naturedly cursed them, and declared that after thirty years of age not one of them or their posterity should prosper temporally or spiritually--a prophecy which, if it affected the vine-growers of that epoch, has proved harmless enough in the case of their descendants.[382] At Ay we visited the pressoir of the principal producer of _vin brut_, who, although the owner of merely five hectares, or about twelve and a half acres of vines, expected to make as many as 1500 pièces of wine that year, mainly of course from grapes purchased from other growers.[383] On our way from Ay to Mareuil, along the lengthy Rue de Châlons, we looked in at the little auberge at the corner of the Boulevard du Sud, and found a crowd of coopers and others connected in some way with the vintage, taking their cheerful glasses round. The walls of the room were appropriately enough decorated with capering bacchanals squeezing bunches of purple grapes and flourishing their thyrsi about in a very tipsy fashion. All the talk--and there was an abundance of it--had reference to the yield of this particular vintage and the high rate the Ay wine had realised. Eight hundred francs the pièce of 200 litres, equal to 44 gallons, appeared to be the price fixed by the agents of the great Champagne houses, and at this figure the bulk of the vintage was disposed of before a single grape passed through the winepress.[384] [Illustration] The Mareuil vinelands, which include the vineyard bequeathed some six hundred years ago by Canon John de Brie to the chapter of Reims cathedral, and possibly those vineyards bestowed in 1208 on the Abbey of Avenay by Alain de Jouvincourt, cover the slopes of two coteaux, the first a continuation of the Côte d'Ay, and the second a detached spur, known as the Mont de Fourche, overlooking the Marne canal. Owing to the steepness of the slopes and to the roads through the vineyards being impracticable for carts, the grapes were being conveyed to the press-houses in baskets slung across the backs of mules and donkeys, most of which, on account of their known partiality for the ripe fruit, were muzzled while thus employed. The wine yielded by the Mareuil vineyards possesses body and vinosity, and while of course regarded as inferior to that of Ay, found a ready market the year of our visit at from five to six hundred francs the pièce. Prior to the French Revolution, the produce of the winepresses of the Seigneurs of Mareuil and the Abbess of Avenay were almost as renowned as the best growths of Ay. The reputation of the wine was then shared by the inhabitants of the village; the popular local diction, 'Les gens d'Ay, les messieurs de Mareuil, et les crottés d'Avenay,' referring to the days when the first was inhabited by enriched wine-growers, the second by people of some position, and the third merely by peasants, simply from its being cut off, in a great measure, from outside intercourse through the badness of its approaches. It was not until after 1776, when the _seigneurie_ of Louvois was purchased from the Marquis de Souvré by Madame Adelaïde, aunt of Louis XVI., that the road from Epernay to Louvois, which passes through Mareuil and Avenay, was, if not constructed, at any rate rendered practicable, in order to facilitate the visits of the princess to her new acquisition. These roads exist, though no traces remain of the ancient fort of Mareuil on the bank of the Marne, taken from the English in 1359 by Gaucher de Chatillon, captain of Reims, and alternately occupied by Leaguers and Royalists during the War of Religion in the sixteenth century. Nor does there seem any chance of identifying either the 'vineyard called la Gibaudelle, lying next the vineyard of Oudet, surnamed Leclerc,' in the territory of Mareuil, which Guillaume de Lafors and Marguerite his wife bestowed upon the Abbey of Avenay in 1273, or those from which, in the fourteenth century, Archbishop Richard Pique of Reims used to draw ten muids or hogsheads of wine annually for 'droits de vinage.' [Illustration: AVENAY AS SEEN FROM THE RAILWAY.] The vineyards of Avenay also date prior to the thirteenth century, mention being frequently made of them in the charters of that epoch.[385] Their best wine, which Saint Evremond extolled so highly, is vintaged to-day up the slopes of Mont Hurlé. Avenay itself is a tumbledown little village situated in the direction of Reims, and the year of our visit we found the yield from its vineyards had been scarcely more than the third of an average one, and that the wine produced at the first pressure of the grapes had been sold for 500 francs the pièce. We tasted there some very fair still red wine, made from the same grapes as Champagne, remarkably deep in colour, full of body, and possessing that slight sweet bitterish flavour which characterises certain of the better-class growths of the South of France. Although at Avenay vineyards cover the slopes as of yore, when Marmontel used to wander amongst them in company with his inamorata Mademoiselle Hévin de Navarre, no traces remain of the ancient royal abbey--founded by St. Bertha in 660, on the martyrdom of her husband, St. Gombert, one of the early Christian missionaries to Scotland--where Charles V. took up his quarters when invading Champagne in 1544, and where the deputies of the Leaguers of Reims and of the Royalists of Châlons met in October 1592 to settle the terms of the 'Traité des Vendanges,' securing to both parties liberty to gather in the vintage unmolested.[386] The villagers still point out the house where Henri Quatre slept, and the window from which he harangued the populace during the visit paid by him to Madame Françoise de la Marck, the Abbess of Avenay,[387] in August of the same year. This, by the way, does not seem to have been the only occasion when the spot was honoured by the presence of Royalty; for a tradition, which, although unsupported by any documentary evidence, appears to be worthy of credence, is current to the effect that Marie Antoinette paid a visit to the Abbey of Avenay during her sojourn at Louvois as the guest of Madame Adelaïde in 1786. The spring which, according to the legend, gushed forth when St. Bertha, in imitation of Moses, struck the rock with her distaff, is still shown to travellers; and scandal has gone so far as to say that recourse is sometimes had to it to eke out the native vintage. On leaving Avenay we ascended the hills to Mutigny, and wound round thence to Cumières, on the banks of the Marne, finding the vintage in full operation all throughout the route. The vineyards of Cumières--classed as a second cru--yield a wine which, though celebrated in the verses of Eustache Deschamps, a famous and prolific Champenois poet of the fourteenth century, varies to-day considerably in quality, the best coming from the 'Côtes-à-bras,' the property of the Abbey of Hautvillers in Dom Perignon's day. The Cumières vineyards join those of Hautvillers on the one side and Damery on the other, the latter a cosy little river-side village, where the _bon Roi Henri_ sought relaxation from the turmoils of war in the society of the fair Anne du Pay, _sa belle hôtesse_, as the gallant Béarnais was wont to style her. Damery also claims to be the birthplace of Adrienne Lecouvreur, the celebrated actress of the Regency, and mistress of the Maréchal de Saxe, who coaxed her out of her 30,000_l._ of savings to enable him to prosecute his suit with the obese Anna Iwanowna, niece of Peter the Great, which, had he only been successful, would have secured the future hero of Fontenoy the coveted dukedom of Courland. From Cumières can be distinguished far away on the horizon the ruined tower of the _bourg_ of Châtillon, the birthplace of Pope Urban II., preacher of the first Crusade, and a devotee of the wine of Ay.[388] It was during the budding spring-time when we made our formal pilgrimage to Hautvillers across the swollen waters of the Marne at Epernay. Our way lay for a time along a straight level poplar-bordered road, with verdant meadows on either hand; then diverged sharply to the left, and we commenced ascending the vine-clad hills, on a narrow plateau of which the church and abbey remains are picturesquely perched. The closely-planted vines extend along the undulating slopes to the summit of the plateau, and wooded heights rise up beyond, affording shelter from the bleak winds that sweep over here from the north. Spite of the reputation which the wine of Hautvillers enjoyed a couple of centuries ago, and its association with the origin of _vin mousseux_, the vineyards to-day appear to have been relegated to the rank of a second cru, their produce ordinarily commanding less than two-thirds of the price obtained for the Ay and Verzenay growths.[389] The church of Hautvillers and the remains of the abbey are situated at the farther extremity of the village, at the end of its one long street, named, pertinently enough, the Rue de Bacchus. Time, the iconoclasts of the great Revolution, and the quieter, yet far more destructive, labours of the Bande Noire, have spared but little of the royal abbey of St. Peter, where Dom Perignon lighted upon his happy discovery of the effervescent quality of Champagne. The quaint old church, scraps of which date back to the twelfth century, the remnants of the cloisters, and one of the abbey's ancient gateways, are all that remain to testify to the grandeur of its past, when it was the proud boast of the brotherhood that it had given nine archbishops to the see of Reims, and two-and-twenty abbots to various celebrated monasteries. [Illustration: FOUNTAIN AT A CAFÉ IN THE RUE DE BACCHUS, HAUTVILLERS.] Passing through an unpretentious gateway, we find ourselves in a spacious courtyard, bounded by buildings somewhat complex in character. On our right rises the tower of the church with the remains of the old cloisters, now walled-in and lighted by small square windows, and propped up by heavy buttresses. To the left stands the residence of the bailiff, and beyond it an eighteenth-century château on the site of the abbot's house. Formerly the abbey precincts were bounded on this side by a picturesque gateway-tower leading to the vineyards, and known as the 'Porte des Pressoirs,' from its contiguity to the winepresses. The court is enclosed on its remaining sides by huge barn-like buildings, stables, and cart-sheds; while roaming about are numerous live stock, indicating that what remains of the once-famous royal abbey of St. Peter has degenerated into an ordinary farm. To-day the abbey buildings and certain of its lands are the property of M. Paul Chandon de Brialles, of the firm of Moët & Chandon, the great Champagne manufacturers of Epernay, who maintains them as a farm, keeping some six-and-thirty cows there, with the object of securing the necessary manure for the numerous vineyards which the firm own hereabouts. [Illustration: THE PORTE DES PRESSOIRS, ABBEY OF HAUTVILLERS (Destroyed by fire in 1879).] [Illustration: REMAINS OF CLOISTERS, ABBEY OF HAUTVILLERS.] The dilapidated cloisters, littered with old casks, farm implements, and the like, preserve ample traces of their former architectural character, changed as they are since the days when the sandalled feet of the worthy cellarer resounded through the echoing arches as he paced to and fro, meditating upon coming vintages and future marryings of wines. Vine-leaves and bunches of grapes decorate some of the more ancient columns inside the church, and grotesque mediæval monsters, such as monkish architects habitually delighted in, entwine themselves around the capitals of others. The stalls of the choir are elaborately carved with cherubs' heads, medallions and figures of saints, cupids supporting shields, and free and graceful arabesques of the epoch of the Renaissance. In the chancel, close by the altar-steps, are a couple of black-marble slabs, with Latin inscriptions of dubious orthography, the one to Johannes Royer, who died in 1527, and the other, which has been already cited in detail, setting forth the virtues and merits of Dom Petrus Perignon, the discoverer of the effervescing qualities of Champagne. In the central aisle a similar slab marks the resting-place of Dom Thedoricus Ruynart--obit 1709--an ancestor of the Reims Ruinarts; and little square stones interspersed among the tiles with which the side aisles of the church are paved record the deaths of other members of the Benedictine brotherhood during the seventeenth and eighteenth centuries. Several large pictures grace the walls of the church, the most interesting one representing St. Nivard, Bishop of Reims, and his friend, St. Berchier, designating to some mediæval architect the site which the contemplated Abbey of St. Peter is to occupy, as set forth in the legend already related. [Illustration: FROM THE ABBEY CHURCH, HAUTVILLERS.] [Illustration: FROM THE ABBEY CHURCH, HAUTVILLERS.] At a short distance from the abbey farm, Messrs. Moët & Chandon have erected a tower, whence a splendid view, extending over the vineyards of Cumières, Hautvillers, Dizy, and Ay, with those lying on the opposite bank of the river, is to be obtained. Gazing from here, it is easy to imagine the scene presented in the days when the Abbey of St. Peter still reared its stately walls, when Louis Chaumejan de Tourille wore the abbatial insignia, and Dom Perignon displayed with equal pride as the badge of his office the key of the abbey cellars. Over these slopes on a dewy autumn morning the latter's eyes, ere sealed in blindness, must have often wandered, and an unctuous chuckle must have welled up from between his lips as he marked the grapes steadily advancing towards maturity. We can fancy him pausing from time to time 'To breathe an ejaculatory prayer And a benediction on the vines,' although in those halcyon days there was neither oïdium nor phylloxera to be dreaded, and an extra taper or so to St. Vincent, the patron of vine-dressers, sufficed to secure the crop from ordinary accidents of flood and field. When the epoch of the vintage arrived, and the slopes were all alive with bands of vintagers engaged in stripping the ripened purple bunches from the vines, and carefully transporting them to the winepress, one can picture Dom Perignon smiling contentedly at the report of the gray-haired bailiff that no such crop had been garnered for years before. And when the must began to gush forth as the stalwart bare-armed peasants tugged at the levers of the huge press on which M. de Tourille had placed the glorifying inscription elsewhere cited, with what satisfaction must Perignon have recognised a foreshadowing of that divine aroma which lends so exquisite a charm to the choice vintages of the Champagne! Later on we can imagine him entering the abbey cellar, stored with the results of his careful labours, as a 'sacred place, With a thoughtful, solemn, and reverent pace,' and softly chanting to himself, as he draws off a flagon of the best and choicest vintage which the gloomy vaults contain: 'Ah, how the streamlet laughs and sings! What a delicious fragrance springs From the deep flagon as it fills, As of hyacinths and daffodils!' The vineyards of the Côte d'Epernay, on the southern bank of the Marne, extend eastward from beyond Boursault, on whose wooded height stands the fine château built by Madame Clicquot, and in which her granddaughter, the Comtesse de Mortemart, to-day resides. They then follow the course of the river, and, after winding round behind Epernay, diverge towards the south-west. Amongst them are the slopes of Pierry, Mardeuil, Moussy, Vinay, Ablois, and Chouilly, the last named situate somewhat apart from the rest to the east of Epernay, and yielding a light wine, qualified as slightly purgative. The vines of the Côte d'Epernay produce only black grapes, and many of the vineyards are of great antiquity, the one known as the Closet, near Epernay, having been bequeathed under that name by a canon of Laon named Parchasius to the neighbouring Abbey of St. Martin six and a half centuries ago. [Illustration: THE VILLAGE OF PIERRY.] [Illustration: VINEYARD WINE-CELLARS AT PIERRY.] A short drive along the high-road leading from Epernay to Orleans brings us to the village of Pierry, cosily nestling amongst groves of poplars in the valley of the Cubry, with some half-score of châteaux of the last century, belonging to well-to-do wine-growers of the neighbourhood, screened from the road by umbrageous gardens. Vines mount the slopes that rise around, the higher summits being crowned with forest, while here and there some pleasant village shelters itself under the brow of a lofty hill. Near Pierry many cellars have been excavated in the chalky soil, to the flints so prevalent in which the village is said to owe its name. The entrances to these cellars are closed by iron gateways, and on the skirts of the vineyards we come upon whole rows of them picturesquely overgrown with ivy, and suggestive in appearance of catacombs. Early in the last century the wine vintaged here in the Clos St. Pierre, belonging to an abbey of this name at Châlons, acquired a high reputation through the care bestowed upon it by Brother Jean Oudart, whose renown almost rivalled that of Dom Perignon himself; and to-day the Pierry vineyards, producing exclusively black grapes, hold a high rank among the second-class crus of the Marne.[390] Crossing the Sourdon, a little stream which, after bubbling up in the midst of huge rocks in the forest of Epernay, rushes down the hills, and then changes its name to the Cubry, we soon reach Moussy, where vineyards have been in existence for something like eight centuries; for we find enumerated in the list of bequests made to the hospital of St. Mary at Reims in the eleventh and twelfth centuries sundry 'vineas in Moiseio' devised by such long-forgotten notabilities as Pontius, priest and canon, Tebaldus Papilenticus, Johannes de Germania, and Macela, wife of Pepinus. Spite, however, of their long pedigree and advantageous southern aspect, the Moussy vineyards rank to-day merely as a second cru. Continuing to skirt the vine-clad slopes we come to Vinay, noted for an ancient grotto[391]--the former comfortless abode of some rheumatic anchorite--and a pretended miraculous spring to which fever-stricken pilgrims to-day credulously resort. The water may possibly merit its renown; but the wine here produced is very inferior, due no doubt to the class of vines, the meunier being the leading variety cultivated. At Ablois St. Martin, once a fief of Mary Queen of Scots, and picturesquely perched partway up a slope in the midst of hills covered with vines and crowned with forest trees, the Côte d'Epernay ends, and the produce becomes of a choicer character. As the Côte d'Avize lies to the south-east, to reach it we have to retrace our steps to Pierry, and follow the road which there branches off, leaving on our right hand the vineyards of Chavot, Monthelon, and Grauves, now of no particular note, although of undoubted antiquity, Blanche of Castille, Countess of Champagne, having endowed the Abbey of Argensolles, on its foundation in 1224, with sundry strips of vineland, including one at Grauves, possibly the vineyard of Les Roualles, which yields a wine not unlike certain growths of the Mountain of Reims. After passing through Cuis, where the slopes, planted with both black and white varieties of vines, are extremely abrupt, and where Simon la Bole, man-at-arms of Epernay, and his wife Basile gave, in 1210, 'four hogsheads of _vinage_ to be taken annually' to Hugo, Abbot of St. Martin at Epernay, we eventually reach Cramant, one of the grand _premiers crus_ of the Champagne. From the vineyards around this picturesque little village, and extending along the somewhat precipitous Côte de Saran--a prominent object, on which is M. Moët's handsome château--there is vintaged a wine from white grapes, especially remarkable for lightness and delicacy and the richness of its bouquet, and an admixture of which is essential to every first-class Champagne _cuvée_. From Cramant the road runs direct to Avize, a large thriving village, lying at the foot of vineyard slopes, where numerous Champagne firms have established themselves. Its prosperity dates from the commencement of the last century (1715), when the Count de Lhery, its feudal lord, cleared away the remains of its ancient ramparts, filled up the moat, and planted the ground with vines, the produce of which proved admirably suited for the sparkling wines then coming into vogue. Prior to this the Avize wine, made almost entirely from white grapes, fetched only from 25 to 30 francs the queue; but being found well adapted for the manufacture of the strongly-effervescent wine known as _saute-bouchon_, it soon commanded as much as 300 francs, and the arpent of vineyard rose in value from 250 to 2000 francs.[392] To-day the light delicate wine of Avize is classed, like that of Cramant, as a _premier cru_, and it is the same with the wine of Oger,[393] lying a little to the south, while the neighbouring growths of Le Mesnil hold a slightly inferior rank. The latter village and its gray Gothic church lie under the hill in the midst of vines that almost climb the forest-crowned summit. The stony soil hereabouts is said to be better adapted to the cultivation of white than of black grapes; besides which, the wines of Le Mesnil are remarkable for their effervescent properties. [Illustration: LE MESNIL AND ITS VINEYARDS.] [Illustration: VIEW OF VERTUS.] Vertus forms the southern limit of the Côte d'Avize, and the vineyard slopes subsiding at their base into a broad expanse of fertile fields, and crested as usual with dense forest, rise up behind the picturesque old town, which is mentioned in a letter of the Emperor Louis and a charter of Charles the Bald in the ninth century. It was once strongly fortified, though a dilapidated gateway is all that to-day remains of the ancient ramparts, which failed to secure it in 1380, when the English, under the 'Comte de Bouquingouan,' presumably Buckingham, burnt the whole of the town except the Abbey of St. Martin, and elicited from the native poet, Eustache Deschamps, _dit_ Morel, 'huissier d'armes' to Charles VI. and castellan of Fismes, a lamentation, wherein he fails not to mention the high renown of the local vintage.[394] [Illustration: OLD HOUSES AT VERTUS.] Vertus can still boast a curious old church of the eleventh century, with solid Romanesque towers, elaborate mouldings, and richly ornamented capitals; also a picturesque promenade, shaded with centenarian trees, together with several quaint old houses, including one with a florid Gothic window surrounded by a border of grapes and vine-leaves, and another with a quaintly projecting corner turret, dominated by a conical roof. The Vertus vineyards are mentioned in a charter of the Abbey of Ste. Marie, dated 1151. They were originally planted with vines from Beaune in Burgundy, and in the fourteenth century yielded a red wine held in high repute, of pleasant flavour, and rich in perfume,[395] but which would appear to have been imbued with those purgative properties[396] traceable in other growths of the Champagne. The red wine of Vertus formed the favourite beverage of William III. of England, and was long in high repute. To-day, however, the growers find it more profitable to make white instead of red wine from their crops of black grapes, the former commanding a good price for conversion into _vin mousseux_, from being in the opinion of some manufacturers especially valuable for binding a _cuvée_ together. The Vertus growths rank among the second-class Champagne crus.[397] [Illustration: SILLERY AND ITS VINEYARDS.] II. /The Champagne Vinelands--The Vineyards of the Mountain./ The wine of Sillery--Origin of its renown--The Maréchale d'Estrées a successful Marchande de Vin--The Marquis de Sillery the greatest wine-farmer in the Champagne--Cossack appreciation of the Sillery produce--The route from Reims to Sillery--Henri Quatre and the Taissy wines--Failure of the Jacquesson system of vine cultivation--Château of Sillery--Wine-making at M. Fortel's--Sillery sec--The vintage at Verzenay and the vendangeoirs--Renown of the Verzenay wine--The Verzy vineyards--Edward III. at the Abbey of St. Basle--Excursion from Reims to Bouzy--The herring procession at St. Remi--Rilly, Chigny, and Ludes--The Knights Templars' 'pot' of wine--Mailly and the view over the Champagne plains--Wine-making at Mailly--The village in the wood--Château and park of Louvois, Louis le Grand's War Minister--The vineyards of Bouzy--Its church-steeple, and the lottery of the great gold ingot--Pressing grapes at the Werlé vendangeoir--Still red Bouzy--Ambonnay--A pattern peasant vine-proprietor--The Ambonnay vintage--The vineyards of Ville-Dommange and Sacy, Hermonville and St. Thierry--The still red wine of the latter. [Illustration: TOWER AND GATEWAY OF THE CHÂTEAU DE SILLERY.] The vineyards of the Mountain of Reims may be divided into two zones, one of which, known as the Basse Montagne, is situate north-west of Reims, and comprises the vineyards of St. Thierry, Marsilly, Hermonville, and others; whilst the more important zone lies to the south of the old cathedral city, and includes the better-known crus of Sillery, Verzy, Verzenay, Mailly, Ludes, Chigny, and Rilly. The vinelands of Bouzy and Ambonnay are also reckoned within it, though situate somewhat apart on a southern slope of the Mountain some few miles from the Marne. The smallest of the Champagne vineyards are those of Sillery, and yet no wine of the Marne enjoys a greater renown, due originally to the intelligence and energy of the family of the Brularts, Marquises of Sillery and Puisieux, to whom the estate originally belonged, and who seem to have devoted great attention to viticulture from certainly the middle of the seventeenth century. The reputation of the still wine of Sillery, 'the highest manifestation of the divinity of Bacchus in all France,' was firmly established at this epoch. 'As to M. de Puyzieux,' writes St. Evremond to his friend Lord Galloway in August 1701, 'he acts wisely to fall in with the bad taste now in fashion concerning Champagne in order to sell his own the better;' but at the same time he counsels his correspondent to get the marquis to make him 'a little barrel after the fashion in which it was made forty years before, prior to the existing depravation of taste.'[398] The marquis here referred to was Roger Brulart, Governor of Epernay, who was himself a joyous _bon vivant_, and died from over-indulgence in the good things provided at a dinner given by the Chartreux in 1719.[399] He was succeeded by his nephew, Louis Philogène Brulart, Marquis de Sillery et de Puisieux, to whom, in 1727, on the occasion of his marriage with Mademoiselle de Souvré, granddaughter of Louvois, the Sieurs Quatresous and Chertemps presented at his château of Sillery, on behalf of the town of Epernay, a basket of one hundred flasks of wine.[400] He died in 1771, leaving an only daughter, Adelaïde Félicité Brulart de Sillery, married, in 1744, to Louis César le Tellier, Maréchal Duc d'Estrées. The wine attained its apogee under the fostering care of the Maréchale d'Estrées, to whom not only this cru, but those of Mailly, Verzy, and Verzenay belonged, and who concentrated their joint produce in the capacious cellars of her château, afterwards sending it forth with her own guarantee, under the general name of Sillery, which, like Aaron's serpent, thus swallowed up the others. The Maréchale's social position enabled her to secure for her wines the recognition they really merited, being made with the utmost care and a rare intelligence, shown by the removal of every unripe, rotten, or imperfect grape from the bunches before pressing, so that the _Vin de la Maréchale_, as it was styled, became famous throughout Europe.[401] This lady is not to be confounded with that other Maréchale d'Estrées mentioned by St. Simon, noted for her exquisite and magnificent although rare entertainments, and so sordid that when her daughter, who was covered with jewels, fell down at a ball, her first cry was, not like Shylock's, 'My daughter!' but 'My diamonds!' as, rushing forward, she strove to pick up, not the fallen dancer, but her scattered gems. Later owners of the famous Sillery cru did their best to sustain its reputation, and Arthur Young, who stopped here in 1787, speaks of the Marquis de Sillery as 'the greatest wine-farmer in the Champagne,' having on his own hands 180 arpents of vines, and cellar-room for a couple of hundred pièces of wine.[402] Among more recent appreciation of the merits of Sillery sec may be mentioned the Cossacks, who pillaged the district in 1814, and who, not being able to carry off all the wine from the cellar of the Count de Valence at Sillery, stove in some thirty pièces of the best, and set the place afloat.[403] The drive from Reims to Sillery has nothing attractive about it. A long, straight, level road bordered by trees intersects a broad tract of open country, skirted on the right by the Petite Montagne of Reims, with antiquated villages nestled among the dense woodland. After crossing the Châlons line of railway--near where one of the new forts constructed for the defence of Reims rises up behind the villages and vineyards of Cernay and Nogent l'Abbesse--the country becomes more undulating. Poplars border the broad Marne canal, and a low fringe of foliage marks the course of the languid river Vesle, on the banks of which is Taissy, famous in the old days for its wines, great favourites with Sully, and which almost lured Henri Quatre from his allegiance to the vintages of Ay and Arbois that he loved so well.[404] To the left rises Mont de la Pompelle, where the first Christians of Reims suffered martyrdom, and where, in 1658, the Spaniards under Montal, when attempting to ravage the vineyards of the district, were repulsed with terrible slaughter by the Rémois militia, led on by Grandpré. A quarter of a century ago the low ground on our right near Sillery was planted with vines by the late M. Jacquesson, the then owner of the Sillery estate, and a large Champagne manufacturer at Châlons, who was anxious to resuscitate the ancient reputation of the domain. Under the advice of Dr. Guyot, the well-known writer on viticulture, he planted the vines in deep trenches, which led to the vineyards being punningly termed Jacquesson's _celery_ beds. To shield the vines from hailstorms prevalent in the district, and the more dangerous spring frosts, so fatal to vines planted in low-lying situations, long rolls of straw-matting were stored close at hand with which to roof them over when needful. These precautions were scarcely needed, however; the vines languished through moisture at the roots, and eventually were mostly rooted up. [Illustration: HENRI QUATRE.] [Illustration: CHÂTEAU DE SILLERY.] After again crossing the railway we pass the trim restored turrets of the famous château of Sillery, with its gateways, moats, and drawbridges, flanked by trees and floral _parterres_. It was here that the stout squire Laurent Pichiet kept watch and ward over the 'forte maison de Sillery' on behalf of the Archbishop of Reims at the close of the fourteenth century, that the Maréchale d'Estrées carried on her successful business as a _marchande de vins_, and that the pragmatic and pedantic Comtesse de Genlis, governess of the Orleans princes, spent, as she tells us, the happiest days of her life. The few thriving vineyards of Sillery cover a gentle eminence which rises out of the plain, and present on the one side an eastern and on the other a western aspect. They have fallen somewhat from their high estate since the days when old Coffin of Beauvais University sang their praises in Latin: 'Let Horace the charms of old Massica own, And the praise of Falernian sound; Such wines, although famous, must bow to that grown On Sillery's fortunate ground.'[405] To-day the Vicomte de Brimont and M. Fortel of Reims, the latter of whom cultivates some forty acres of vines, yielding ordinarily about 300 hogsheads, are the only wine-growers at Sillery. Before pressing his grapes--of course for sparkling wine--M. Fortel has them thrown into a trough, at the bottom of which are a couple of grooved cylinders, each about eight inches in diameter, and revolving in contrary directions, the effect of which, when set in motion, is to disengage the grapes partially from their stalks. Grapes and stalks are then placed under the press, which is on the old cider-press principle, and the must runs into a reservoir beneath, whence it is pumped into large vats, each holding from 250 to 500 gallons. Here it remains from six to eight hours, and is then run off into casks, the spigots of which are merely laid lightly over the holes, and in the course of twelve days the wine begins to ferment. It now rests until the end of the year, when it is drawn off into new casks and delivered to the buyer, invariably one or other of the great Champagne houses, who willingly pay an exceptionally high price for it. The second and third pressures of the grapes yield an inferior wine, and from the husks and stalks _eau-de-vie_, worth about five shillings a gallon, is distilled. The wine known as Sillery sec is a full, dry, pleasant-flavoured, and somewhat spirituous amber-coloured wine. Very little of it is made nowadays, and most that is comes from the adjacent vineyards of Verzenay and Mailly, and is principally reserved by the growers for their own consumption. One of these candidly admitted that the old reputation of the wine had exploded, and that better white Bordeaux and Burgundy wines were to be obtained for less money. In making dry Sillery, which locally is esteemed as a valuable tonic, it is essential that the grapes should be subjected to only slight pressure; while to have it in perfection it is equally essential that the wine should be kept for ten years in the wood according to some, and eight years in bottle according to others, to which circumstance its high price is in all probability to be attributed. In course of time it forms a deposit, and has the disadvantage common to all the finer still wines of the Champagne district of not travelling well. Beyond Sillery the vineyards of Verzenay unfold themselves, spreading over the extensive slopes and stretching to the summit of the steep height to the right, where a windmill or two are perched. Everywhere the vintagers are busy detaching the grapes with their little hook-shaped _serpettes_, the women all wearing projecting close-fitting bonnets, as though needlessly careful of their anything but blonde complexions. Long carts laden with baskets of grapes block the narrow roads, and donkeys, duly muzzled, with panniers slung across their backs, toil up and down the steeper slopes. Half-way up the principal hill, backed by a dense wood and furrowed with deep trenches, whence soil has been removed for manuring the vineyards, is the village of Verzenay--where in the Middle Ages the Archbishop of Reims had a fief--overlooking a veritable sea of vines. Rising up in front of the old gray cottages, encompassed by orchards or gardens, are the white walls and long red roofs of the vendangeoirs belonging to the great Champagne houses--Moët & Chandon, Clicquot, G. H. Mumm, Roederer, Deutz & Geldermann, and others--all teeming with bustle and excitement, and with the vines almost reaching to their very doors. Messrs. Moët & Chandon have as many as eight presses in full work, and own no less than 120 acres of vines on the neighbouring slopes, besides the Clos de Romont--in the direction of Sillery, and yielding a wine of the Sillery type--belonging to M. Raoul Chandon. Verzenay ranks as a _premier cru_, and for three years in succession--1872, 3, and 4--its wines fetched a higher price than either those of Ay or Bouzy. In 1873 the _vin brut_ commanded the exceptionally large sum of 1050 francs the hogshead of 44 gallons. All the inhabitants of Verzenay are vine-proprietors, and several million francs are annually received by them for the produce of their vineyards from the manufacturers of Champagne. The wine of Verzenay, remarkable for its body and vinosity, has always been held in high repute,[406] which is apparently more than can be said of the probity of the inhabitants, for, according to an old Champagne saying, 'Whenever at Verzenay "Stop thief" is cried every one takes to his heels.' [Illustration: THE VINEYARDS OF VERZENAY.] [Illustration: DEVICE ABOVE ENTRANCE TO VENDANGEOIR AT VERZENAY.] Just over the Mountain of Reims is the village of Verzy, the vine-growers of which distinguished themselves in the fifteenth century by their resistance to the officials sent to levy the 'aide en gros' of two sols per queue, imposed by Louis XI. on all wine made within a radius of four miles of Reims. The Verzy vineyards--ranked to-day as a second cru--date at least from the days of the Knights Templars, when the Commanderie of Reims had 'two vineyards near the abbey' here. They adjoin those of Verzenay, and are almost exclusively planted with white grapes, the only instance of the kind to be met with in the district. In the Clos St. Basse, however--taking its name from the Abbey of St. Basle, of which the village was a dependency, and where Edward III. of England had his head-quarters during the siege of Reims--black grapes alone are grown, and its produce is almost on a par with the wines of Verzenay. Immediately prior to the Revolution, one-fourth of the inhabitants of Verzy were landholders, each cultivating about five arpents of vines, and obtaining therefrom, on an average, twenty poinçons, out of which the abbey exacted one and three-quarters for 'droits de dimes et de banalité de pressoir.' Southwards of Verzy are the third-class crus of Villers-Marmery and Trépail, the former of which was of some repute in the Middle Ages. [Illustration: PORTION OF FRIEZE OF OLD HOUSE, RUE DU BARBATRE, REIMS.] We made several excursions to the vineyards of Bouzy, driving out of Reims along the ancient Rue du Barbâtre and past the quaint old church of St. Remi, one of the sights of the Champagne capital, and notable, among other things, for its magnificent ancient stained-glass windows, and the handsome modern tomb of the popular Rémois saint. It was here in the Middle Ages that that piece of priestly mummery, the procession of the herrings, used to take place at dusk on the Wednesday before Easter. Preceded by a cross, the canons of the church marched in double file up the aisles, each trailing a cord after him, with a herring attached. Every one's object was to tread on the herring in front of him, and prevent his own herring from being trodden upon by the canon who followed behind--a difficult enough proceeding, which, if it did not edify, certainly afforded much amusement to the lookers-on. [Illustration: ANCIENT WELL, RUE DU BARBATRE, REIMS.] After crossing the canal and the river Vesle, and leaving the gray antiquated-looking village of Cormontreuil on our left, we traversed a wide stretch of cultivated country streaked with patches of woodland, with occasional windmills dotting the distant heights, and villages nestling among the trees up the mountain-sides and in the quiet hollows. Soon a few vineyards occupying the lower slopes, and thronged by bands of vintagers, came in sight, and the country too grew more picturesque. We passed successively on our right hand Rilly, a former fief of the Archbishop of Reims, and noted for its capital red wine; then Chigny, where the Abbot of St. Remi had a vineyard as early as the commencement of the thirteenth century; and afterwards Ludes,--all three of them situated more or less up the mountain, with vines in every direction, relieved by a dark background of forest-trees. In the old days, the Knights Templars of the Commanderie of Reims had the right of _vinage_ at Ludes, and exacted their modest 'pot' (about half a gallon) per pièce on all the wine the village produced. On our left hand is Mailly, the vineyards of which join those of Verzenay, and, though classed only as a second cru, yielding a wine noted for _finesse_ and bouquet, identified by some as the vintage which was recommended in the ninth century to Bishop Hincmar of Reims by his _confrère_, Pardulus of Laon. From the wooded knolls hereabouts a view is gained of the broad plains of the Champagne, dotted with white villages and scattered homesteads among the poplars and the limes, the winding Vesle glittering in the sunlight, and the dark towers of Notre Dame de Reims, with all their rich Gothic fretwork, rising majestically above the distant city. At one vendangeoir we visited, at Mailly, between 350 and 400 pièces of wine were being made at the rate of some thirty pièces during the long day of twenty hours, five men being engaged in working the old-fashioned press, closely resembling a cider-press, and applying its pressure longitudinally. This ancient press doubtless differs but little from the one which the chapter of Reims Cathedral possessed at Mailly in 1384. As soon as the must was expressed it was emptied into large vats, holding about 450 gallons, and in these it remained for several days before being drawn off into casks. Of the above thirty pièces, twenty resulting from the first pressure were of the finest quality, while four produced by the second pressure were partly reserved to replace what the first might lose during fermentation, the residue serving for second-class Champagne. The six pièces which came from the final pressure, after being mixed with common wine of the district, were converted into Champagne of an inferior quality. [Illustration: THE VINEYARDS OF BOUZY.] We now crossed the mountain, sighting Ville-en-Selve--the village in the wood--among the distant trees, and eventually reached Louvois, whence the Grand Monarque's domineering war minister derived his marquisate, and where his château, a plain but capacious edifice, may still be seen nestled in a picturesque and fertile valley, and surrounded by lordly pleasure-grounds. Château and park are to-day the property of M. Frédéric Chandon, who has bestowed much care on the restoration of the former. Soon after we left Louvois the vineyards of Bouzy appeared in sight, with the prosperous-looking little village rising out of the plain at the foot of the vine-clad slopes stretching to Ambonnay, and the glittering Marne streaking the hazy distance. The commodious new church is said to have been indebted for its spire to the lucky gainer--who chanced to be a native of Bouzy--of the great gold ingot lottery prize, value 16,000_l._, drawn in Paris some years ago. The Bouzy vineyards occupy a series of gentle inclines, and have the advantage of a full southern aspect. The soil, which is of the customary calcareous formation, has a marked ruddy tinge, indicative of the presence of iron, to which the wine is in some degree indebted for its distinguishing characteristics--its delicacy, spirituousness, and pleasant bouquet. Vintagers were passing slowly in between the vines, and carts laden with grapes came rolling over the dusty roads. The mountain which rises behind the vineyards is scored up its sides and fringed with foliage at its summit, and a small stone bridge crosses the deep ravine formed by the swift-descending winter torrents. [Illustration: THE VENDANGEOIR OF M. WERLÉ AT BOUZY.] The principal vineyard proprietors at Bouzy, which ranks, of course, as a _premier cru_, are M. Werlé, M. Irroy, and Messrs. Moët & Chandon, the first and last of whom have capacious vendangeoirs here, M. Irroy's pressing-house being in the neighbouring village of Ambonnay. M. Werlé possesses at Bouzy from forty to fifty acres of the finest vines, forming a considerable proportion of the entire vineyard area. At the Clicquot-Werlé vendangeoir, containing as many as eight presses, about 1000 pièces of wine are made annually. At the time of our visit, grapes gathered that morning were in course of delivery, the big basketfuls being measured off in caques--wooden receptacles holding two-and-twenty gallons--while the florid-faced foreman ticked them off with a piece of chalk on the head of an adjacent cask. As soon as the contents of some half-hundred or so of these baskets had been emptied on to the floor of the press, the grapes undetached from their stalks were smoothed compactly down, and a moderate pressure was applied to them by turning a huge wheel, which caused the screw of the press to act--a gradual squeeze rather than a powerful one, and given all at once, coaxing out, it was said, the finer qualities of the fruit. The operation was repeated as many as six times; the yield from the three first pressures being reserved for conversion into Champagne, while the result of the fourth squeeze would be applied to replenishing the loss, averaging 7-1/2 per cent, sustained by the must during fermentation. Whatever comes from the fifth pressure is sold to make an inferior Champagne. The grapes are subsequently well raked about, and then subjected to a couple of final squeezes, known as the _rébêche_, and yielding a sort of _piquette_, given to the workmen employed at the pressoir to drink. The small quantity of still red Bouzy wine made by M. Werlé at the same vendangeoir only claims to be regarded as a wine of especial mark in good years. The grapes, before being placed beneath the press, are allowed to remain in a vat for as many as eight days. The must undergoes a long fermentation, and after being drawn off into casks is left undisturbed for a couple of years. In bottle--where, by the way, it invariably deposits a sediment, which is indeed the case with all the wines of the Champagne, still or sparkling--it will outlive, we were told, any Burgundy. Still red Bouzy has a marked and agreeable bouquet and a most delicate flavour, is deliciously smooth to the palate, and to all appearances is as light as a wine of Bordeaux, while in reality it is quite as strong as Burgundy, to the finer crus of which it bears a slight resemblance. It was, we learnt, very susceptible to travelling, a mere journey to Paris being, it was said, sufficient to sicken it, and impart such a shock to its delicate constitution that it was unlikely to recover from it. To attain perfection, this wine, which is what the French term a _vin vif_, penetrating into the remotest corners of the organ of taste, requires to be kept a couple of years in wood and half a dozen or more years in bottle. [Illustration: THE AMBONNAY VINEYARDS.] From Bouzy it was only a short distance along the base of the vine-slopes to Ambonnay, where there are merely two or three hundred acres of vines, and where we found the vintage almost over. The village is girt with fir-trees, and surrounded with rising ground fringed either with solid belts or slender strips of foliage. An occasional windmill cuts against the horizon, which is bounded here and there by scattered trees. Inquiring for the largest vine-proprietor, we were directed to an open porte-cochère, and on entering the large court encountered half a dozen labouring men engaged in various farming occupations. Addressing one whom we took to be the foreman, he referred us to a wiry little old man, in shirt-sleeves and sabots, absorbed in the refreshing pursuit of turning over a big heap of rich manure with a fork. He proved to be M. Oury, the owner of we forget how many acres of vines, and a remarkably intelligent peasant, considering what dunderheads the French peasants as a rule are, who had raised himself to the position of a large vine-proprietor. Doffing his sabots and donning a clean blouse, he conducted us into his little salon, a freshly-painted apartment about eight feet square, of which the huge fireplace occupied fully one-third, and submitted patiently to our catechising. At Ambonnay, as at Bouzy, they had that year, M. Oury said, only half an average crop; the caque of grapes had, moreover, sold for exactly the same price at both places, and the wine had realised about 800 francs the pièce. Each hectare (2-1/2 acres) of vines had yielded 45 caques of grapes, weighing some 2-3/4 tons, which produced 6-1/2 pièces, equal to 286 gallons of wine, or at the rate of 110 gallons per acre. Here the grapes were pressed four times, the yield from the second pressure being used principally to make good the loss which the first sustained during its fermentation. As the squeezes given were powerful ones, all the best qualities of the grapes were by this time extracted, and the yield from the third and fourth pressures would not command more than eighty francs the pièce. The vintagers who came from a distance received either a franc and a half per day and their food, consisting of three meals, or two francs and a half without food, the children being paid thirty sous. M. Oury further informed us that every year vineyards came into the market, and found ready purchasers at from fifteen to twenty thousand francs the hectare, equal to an average price of 300_l._ the acre, which, although Ambonnay is classed merely as a second cru, has since risen in particular instances to upwards of 600_l._ per acre. Owing to the properties being divided into such infinitesimal portions, they were not always bought up by the large Champagne houses, who objected to be embarrassed with the cultivation of such tiny plots, preferring rather to buy the produce from their owners. There are other vineyards of lesser note in the neighbourhood of Reims producing very fair wines, which enter more or less into the composition of Champagne, and almost all of which can boast of a pedigree extending back at least to the Middle Ages. Noticeable among these are Ville-Dommange and Sacy, south-west of Reims. At Sacy the Abbey of St. Remi had a vineyard in 1218; and in the return of church property made in 1384, the doyen of the Cathedral is credited with 'rentes de vin' and about six _jours_ of vineland here, the Convent of Clermares at Reims owning a piece of 'vigne gonesse.' North-west of the city the best-known vineyards are those of Hermonville--mentioned likewise at the beginning of the thirteenth century, and in the return which we have just quoted--and St. Thierry, where the Black Prince took up his quarters during the siege of Reims, and where Gerard de la Roche wrought such havoc amongst the vines in the twelfth century, to the great indignation of their monkish owners. The still red wine of St. Thierry, which recalls the growths of the Médoc by its tannin, and those of the Côte d'Or by its vinosity, is to-day almost a thing of the past, it being found here, as elsewhere, more profitable to press the grapes for sparkling in preference to still wine. [Illustration: LABOURERS AT WORK IN THE EARLY SPRING IN M. ERNEST IRROY'S BOUZY VINEYARDS.] III. /The Vines of the Champagne and the System of Cultivation./ A combination of circumstances essential to the production of good Champagne--Varieties of vines cultivated in the Champagne vineyards--Different classes of vine-proprietors--Cost of cultivation--The soil of the vineyards--Period and system of planting the vines--The operation of 'provenage'--The 'taille' or pruning, the 'bêchage' or digging--Fixing the vine-stakes--Great cost of the latter--Manuring and shortening back the vines--The summer hoeing around the plants--Removal of the stakes after the vintage--Precautions adopted against spring frosts--The Guyot system of roofing the vines with matting--Forms a shelter from rain, hail, and frost, and aids the ripening of the grapes--Various pests that prey upon the Champagne vines--Destruction caused by the Eumolpe, the Chabot, the Bêche, the Cochylus, and the Pyrale--Attempts made to check the ravages of the latter with the electric light. [Illustration: CARRYING MANURE TO THE VINEYARDS.] Good Champagne does not rain down from the clouds, or gush out from the rocks, but is the result of incessant labour, patient skill, minute precaution, and careful observation. In the first place, the soil imparts to the natural wine a special quality which it has been found impossible to imitate in any other quarter of the globe. To the wine of Ay it lends a flavour of peaches, and to that of Avenay the savour of strawberries; the vintage of Hautvillers, though somewhat fallen from its former high estate, is yet marked by an unmistakably nutty taste; while that of Pierry smacks of the locally-abounding flint, the well-known _pierre à fusil_ flavour. So, on the principle that a little leaven leavens the whole lump, the produce of grapes grown in the more favoured vineyards is added in definite proportions, in order to secure certain special characteristics, as well as to maintain a fixed standard of excellence. While it is admitted that climate is not without its influence in imparting a delicate sweetness and aroma, combined with finesse and lightness, to the wine, some authorities maintain that to the careful selection of the vines best suited to the soil and temperature of the district the excellence of genuine Champagne is mainly to be ascribed. Four descriptions of vines are chiefly cultivated in the Champagne, three of them yielding black grapes, and all belonging to the pineau variety, from which the grand Burgundy wines are produced, and so styled from the clusters taking the conical form of the pine. The first is the franc pineau, the plant doré of Ay, with its closely-jointed shoots and small leaves, producing squat bunches of small round grapes, with thickish skins of a bluish-black tint, and sweet and refined in flavour. The next is the plant vert doré, with its leaves of vivid green, more robust and more productive than the former, but yielding a less generous wine, and the berries of which, growing in compact pyramidal bunches, are dark and oval, very thin-skinned, and remarkably sweet and juicy. The third variety, extensively planted in the vineyards of Verzy and Verzenay, is the plant gris, or burot, as it is styled in the Côte d'Or, a somewhat delicate vine, whose fruit has a brownish tinge, and yields a light and perfumed wine. The remaining species is a white grape known as the épinette, a variety of the pineau blanc, and supposed by some to be identical with the chardonnet of Burgundy, which yields the famous wine of Montrachet. It is met with all along the Côte d'Avize, notably at Cramant, the delicate and elegant wine of which ranks immediately after that of Ay and Verzenay. The épinette is a prolific bearer, and its round transparent golden berries, which hang in somewhat straggling clusters amongst its dark-green leaves, are both juicy and sweet. It ripens, however, much later than either of the black varieties. [Illustration: TYPES OF THE CHAMPAGNE VINES IN BEARING.] There are several other species of vines cultivated in the Champagne vineyards, notably the common meunier, or miller, prevalent in the valley of Epernay, which bears black grapes, and takes its name from the young leaves appearing to have been sprinkled with flour. This variety being more hardy than the franc pineau is replacing the latter on the lower parts of the slopes, which are the most exposed to frosts--a regrettable circumstance, as it impairs the quality of the wine. There are also the black and white gouais; the meslier, a prolific white variety yielding a wine of fair quality; the black and white gamais, the leading grape in the Mâconnais, and chiefly found in some of the Vertus vineyards; together with the tourlon, the marmot, the cohéras, the plant doux, and half a score of others. The land in the Champagne, as in other parts of France, is minutely subdivided, and it has been estimated that the 40,000 acres of vines are divided amongst no less than 16,000 proprietors. A few of the principal Champagne firms are large owners of vineyards; and as the value of the soil has more than quadrupled within the last thirty years, even the smallest peasant proprietors have cause for congratulation.[407] These latter cultivate their vineyards themselves; while the larger landowners employ labourers, termed _forains_ when coming from a distance and working by the week for their lodging, food, and from 20 to 30 francs wages, or _tâcherons_ when paid by the job. The last-mentioned class usually contract to cultivate and dress an arpent of vines, exclusive of the vintage, at from 8_l._ to 12_l._ per annum. In the Champagne the old rule holds good--poor soil, rich product, grand wine in moderate quantity. The soil of the vineyards is chalk, with a mixture of silica and light clay, combined with a varying proportion of oxide of iron. Many of the best have a substratum of stones and sand, and a thin superstratum of vegetable earth. The ruddier the soil, and consequently the more impregnated with ferruginous earth, the better suited it is found to the cultivation of black grapes; whilst the gray or yellowish soils, such as abound in the Côte d'Avize, are preferable for the white varieties. [Illustration: MANURING THE NEWLY-PLANTED YOUNG VINES.] The vines are almost invariably planted on rising ground, the lower slopes, which seldom escape the spring frosts, producing the best wines. The vines are placed very close together, there often being as many as six within a square yard, and the result is that they reciprocally impoverish each other. Planting takes place between November and April, the vine-growers of the River being usually in advance of those of the Mountain in this operation. Plants two or three years old and raised in nurseries are usually made use of. These are placed either in holes or trenches. The roots have a little earth sprinkled over them, to which a liberal supply of manure or compost is added, and the holes having been filled up and trodden, the vines are pruned down to a couple of buds above the ground. [Illustration: VINE PREPARED FOR 'PROVINAGE.'] In the course of two or three years they are ready for the operation of 'provinage,' or layering, a method of multiplication universally practised in the Champagne. This consists in burying in a trench, from six to eight inches deep dug on one side of the plant, two or more of the principal shoots, left when the vine was pruned for this especial purpose. The whole of the two-years'-old wood is thus buried, and the ends of the shoots of one-year-old, which are left above ground, are cut down to the second bud. The shoots thus laid underground are dressed with a light manure, and in course of time take root and form new vines, which bear during their second year. This operation is performed simultaneously with the 'bêchage' in the early spring, and is annually repeated until the vine is five years old, the plants thus being in a state of continual progression; a system which accounts for the juvenescent aspect of the Champagne vineyards, where none of the wood of the vines showing above ground is more than three years old. [Illustration: PLAN OF 'PROVINAGE À L'ÉCART' IN A NEWLY-PLANTED VINEYARD.] The two principal plans adopted in provining are styled the 'écart' and the 'avance.' In the first, which is usually followed in newly-planted vineyards, the two shoots are carried forward to the right and left--so as to form the two base points of an equilateral triangle, of which the point of departure is the summit--and are maintained in this position by the aid of wooden or iron pegs. In the 'provinage à l'avance' both shoots are carried forward in the same direction, and sometimes a variation embodying the two systems is employed. [Illustration: PROVINAGE À L'ÉCART.] [Illustration: PROVINAGE À L'AVANCE.] When the vine has attained its fifth year it is allowed to rest for a couple of years, and then the provining is resumed, the shoots being dispersed in any direction throughout the vineyard, so as to fill up vacancies. The plants remain in this condition henceforward, merely requiring to be renewed from time to time by judicious provining. For instance, it is sometimes found necessary to bend one of the shoots round into a circle, so that its end may issue from the ground at the point occupied by the parent stock. The system of provinage is sometimes carried to excess in the Champagne, with a view of increasing the yield of wine, which suffers, however, in quality. The network of roots, too, renders the various operations of cultivation difficult and dangerous, as they are liable to be injured by the short-handled hoe in universal use among the Champenois vine-dressers. [Illustration: TRIPLE 'PROVINAGE' TO REPLACE THE PARENT STOCK.] Viticulturists inclined to make experiments have tried the system of arranging the vines in transverse and longitudinal lines, quincunxes, &c., or have replaced their vine-stakes with iron wires supported by wooden pickets. Some of these experiments have proved successful, although none of them are as yet in general use. [Illustration: VINE DRESSER'S HOE.] [Illustration: VINE PRIOR TO THE FEBRUARY PRUNING, SHOWING THE EXTENT OF ROOT.] The first operation of importance carried out during the year in the vineyards is the 'taille,' or pruning, which takes place in February, and consists in cutting away the superfluous shoots, simply leaving one--or, if it is intended to multiply by provinage, two--on each stock. This is followed about March or April by the 'bêchage,' or 'hoyerie'--that is, the digging round the roots of the vine--with which is combined the provinage. A trench being opened, as already noted, and the vine laid bare to the roots, it is bent down so that, on filling up the trench with earth and manure, the stock is entirely covered and only the new wood appears above ground. This new wood is then shortened back, and the stakes intended for the support of the vines are fixed in the ground. These stakes are set up in the spring of the year by men or women, the former of whom force them into the ground by pressing against them with their chest, which is protected with a shield of wood. The women use a mallet, or have recourse to a special appliance, in working which the foot plays the principal part. The latter method is the least fatiguing, and in some localities is practised by the men. An expert labourer will set up as many as 5000 stakes in the course of the day. When of oak these stakes cost sixty francs the thousand; and as the close system of plantation followed in the Champagne renders the employment of no less than 24,000 stakes necessary on every acre of land, the cost per acre of propping up the vines amounts to upwards of 57_l._, or more than treble what it is in the Médoc and quadruple what it is in Burgundy. The stakes last only some fifteen years, and their renewal forms a serious item in the vine-grower's budget. [Illustration: VINES IN FEBRUARY AFTER THE 'TAILLE.'] [Illustration: THE 'BÊCHAGE' OF THE VINES.] [Illustration: PUTTING STAKES TO THE VINES IN THE SPRING.] [Illustration: APPARATUS FOR FIXING VINE-STAKES.] [Illustration: UNSTACKING THE VINE-STAKES.] [Illustration: NEWLY-STAKED VINES AFTER THE 'BÊCHAGE.'] [Illustration: VINES IN AUTUMN AFTER THE VINTAGE.] In May or June, after the vines have been hoed around their roots, they are secured to the stakes, and their tops are broken off at a shoot to prevent them from growing above the regulation height, which is ordinarily from 30 to 33 inches. They are liberally manured with a kind of compost formed of the loose friable soil termed 'cendre'--dug out from the sides of the hills, and of supposed volcanic origin--mixed with animal and vegetable refuse. The vines are shortened back while in flower, and in the course of the summer the ground is hoed a second and a third time, the object being, first, to destroy the superficial roots of the vines and force the plants to live solely on their deep roots; and secondly, to remove all pernicious weeds from round about them. After the third hoeing, which takes place in the middle of August, the vines are left to themselves until the period of the vintage, excepting that some growers remove a portion of the leaves in order that the grapes may receive the full benefit of the sun, and raise up those bunches that rest upon the ground. The vintage over, the stakes supporting the vines are pulled up later in the autumn and stacked in compact masses, styled 'moyères,' with their ends out of the ground, or else 'en chevalet,' the vine, which is left curled up in a heap, remaining undisturbed until the winter, when the earth around it is loosened. In the month of February following the vine is pruned and subsequently sunk into the earth, as already described, so as to leave only the new wood above ground. Owing to the vines being planted so closely together they naturally starve one another, and numbers of them perish. Whenever this is the case, or the stems chance to get broken during the vintage, their places are filled up by provining. [Illustration: STACKING STAKES 'EN CHEVALET.'] [Illustration: STACKING STAKES IN A 'MOYÈRE.'] The vignerons of the Champagne regard the numerous stakes which support the vines as affording some protection against the white frosts of the spring. To guard against the dreaded effects of these frosts, which invariably occur between early dawn and sunrise, and the loss arising from which is estimated to amount annually to 25 per cent, some of the cultivators place heaps of hay, fagots, dead leaves, &c., about twenty yards apart, taking care to keep them moderately damp. When a frost is feared the heaps on the side of a vineyard whence the wind blows are set light to, whereupon the dense smoke which rises spreads horizontally over the vines, producing the same result as an actual cloud, intercepting the rays of the sun, warming the atmosphere, and converting the frost into dew. Among other methods adopted to shield the vines from frosts is the joining of branches of broom together in the form of a fan, and afterwards fastening them to the end of a pole, which is placed obliquely in the ground, so that the fan may incline over the vine and protect it from the sun's rays. A single labourer can plant, it is said, as many as eight thousand of these fans in the ground during a long day. [Illustration: UNROLLING MATTING FOR ROOFING THE VINES WITH.] Dr. Guyot's system of roofing the vines with straw matting, to protect them alike against frosts and hailstorms, is very generally followed in low situations in the Champagne, the value of the wine admitting of so considerable an expense being incurred. This matting, which is made about a foot and a half in width, and in rolls of great length, is fastened either with twine or wire to the vine-stakes; and it is estimated that half a dozen men can fix nearly 11,000 yards of it, or sufficient to roof over 2-1/2 acres of vines, during an ordinary day. To carry out the system properly, a double row of tall and short stakes connected with iron wires has to be provided. The matting can then be used as a shelter to the young vines in spring, as a south wall to aid the ripening of the grapes in summer, and as a protection against rain and autumn frosts. [Illustration: MATTING ARRANGED TO AID THE RIPENING OF THE GRAPES.] [Illustration: MATTING ARRANGED TO PROTECT THE VINES AGAINST AUTUMN FROSTS.] Owing to the system of cultivation by rejuvenescence, and the constant replenishing of the soil by well-compounded manures, the Champenois wine-growers entertain great hopes that their vineyards will escape the ravages of the phylloxera vastatrix. They certainly deserve such an immunity, for, according to Dr. Plonquet of Ay, they are already the prey of no less than fifteen varieties of insects, which feed upon the leaves, stalks, roots, or fruit of the vines. One of the most destructive of these is the eumolpe, gribouri, or écrivain as it is popularly styled, from the traces it leaves upon the vine-leaves bearing some resemblance to lines of writing. It is a species of beetle, the larvæ of which pass the winter amongst the roots of the vine, and in the spring attack the young leaves and buds, their ravages often proving fatal to the plant. Then there is the chabot, which has caused great destruction at Verzy and Verzenay; the attelabe, cunche, or bêche, which rolls up the leaves of the vine like cigars, and seems to be identical with the hurebet or urbec of the Middle Ages; and the cochylis, teigne, or vintage-worm, which develops into a white-and-black butterfly, producing in the course of the year two generations of larvæ, having the form of small red caterpillars, one of which attacks the blossoms of the vine, while the second pierces and destroys the grapes themselves. The list of foes further comprises the altise, a kind of beetle allied to the gribouri; the liset or coupe-bourgeon, a tiny worm assailing the first sprouting shoots; and the hanneton or cockchafer. [Illustration: MATTING ARRANGED TO KEEP OFF RAIN OR HAIL.] [Illustration: THE PYRALE.] The greatest havoc, however, appears to be wrought by the pyrale, a species of caterpillar, which feeds on the young leaves, flowers, and shoots until the vine is left completely bare. The larva of this insect, after passing the winter either in the crevices of the stakes or in the cracks in the bark of the vine, emerges in the spring, devours leaves, buds, and shoots indifferently, and eventually becomes transformed into a small yellow-and-brown butterfly, which deposits its eggs amongst the bunches of grapes in July. Between 1850 and 1860 the vineyards of Ay were devastated by the pyrale, which, like the locusts of Scripture, spared no green thing; and all the efforts made to rid them of this scourge proved ineffectual until the wet and cold weather of 1860 put a stop to the insect's ravages.[408] More recently it was discovered that its attacks could be checked by sulphurous acid, or by scalding the stakes and the vine-stocks with boiling water during the winter. Nevertheless, it appeared impossible to check its destructiveness at Ay, where it made its reappearance in 1879, and caused an immense amount of damage. On this occasion an ingenious gentleman, M. Testulat Gaspar, was seized with the idea of combating the pyrale by means of the electric light. His theory was, that on a powerful light being exhibited in a central position at midnight amongst the vineyards, with a number of tin reflectors distributed in every direction around, the butterflies, roused from slumber, would wing their way in myriads towards the latter, when their flight could be arrested by sheets of muslin stretched between poles, smeared with honey and baited with a dash of Champagne liqueur. The theory was put to the test in August 1879, amongst the vineyards between Dizy and Ay, where the pyrale was committing the greatest ravages. The light was turned on, and the butterflies rose 'in millions;' but they failed to flock to the reflectors, and the honey-smeared muslin proved quite useless to secure the few which came in contact with it. [Illustration: A VINTAGE SCENE IN THE CHAMPAGNE.] IV. /The Vintage in the Champagne./ Period of the Champagne vintage--Vintagers summoned by beat of drum--Early morning the best time for plucking the grapes--Excitement in the neighbouring villages at vintage-time--Vintagers at work--Mules employed to convey the gathered grapes down the steeper slopes--The fruit carefully examined before being taken to the wine-press--Arrival of the grapes at the vendangeoir--They are subjected to three squeezes, and then to the 'rébêche'--The must is pumped into casks and left to ferment--Only a few of the vine-proprietors in the Champagne press their own grapes--The prices the grapes command--Air of jollity throughout the district during the vintage--Every one is interested in it, and profits by it--Vintagers' fête on St. Vincent's-day--Endless philandering between the sturdy sons of toil and the sunburnt daughters of labour. [Illustration: WINE-PRESS IN THE CHAMPAGNE.] When the weather has been exceedingly propitious, the vintage in the Champagne commences as early as the third week in September, and in good average years the pickers set to work during the first week of October. If, however, the summer has been an indifferent one, and only an inferior vintage is looked forward to, it is scarcely before the latter half of October that the gathering of the grapes is proceeded with. There is no vintage-ban in the Champagne, as in Burgundy and other parts of France; but, as a rule, the growers of Ay and of the neighbouring slopes commence operations a week or more earlier than those of the Mountain of Reims, whilst around Cramant and Avize, the white-grape region, the vintagers usually set to work when in the other districts they have nearly finished. [Illustration: THE CHAMPAGNE VINTAGE IN THE NEIGHBOURHOOD OF EPERNAY.] The pleasantest season of the year to visit the Champagne is certainly during the vintage. When this is about to commence, the vintagers--some of whom come from Sainte Menehould, forty miles distant, while others hail from as far as Lorraine--are summoned at daybreak by beat of drum in the market-places of the villages adjacent to the vineyards, and then and there a price is made for the day's labour. This, as we have already explained, is generally either a franc and a half, with food consisting of three meals, or two francs and a half, rising on exceptional occasions to three francs, without food, children being paid a franc and a half. The rate of wage satisfactorily arranged, the gangs start off to the vineyards, headed by their overseers. The picking ordinarily commences with daylight, and the vintagers assert that the grapes gathered at sunrise always produce the lightest and most limpid wine. Moreover by plucking the grapes when the early morning sun is upon them, they are believed to yield a fourth more juice. Later on in the day, too, spite of all precautions, it is impossible to prevent some of the detached grapes from partially fermenting, which frequently suffices to give a slight excess of colour to the must, a thing especially to be avoided in a high-class Champagne. When the grapes have to be transported in open baskets for some distance to the press-house, jolting along the road either in carts or on the backs of mules, and exposed to the torrid rays of a bright autumnal sun, the juice expressed from the fruit, however dexterously the latter may be squeezed in the press, is occasionally of a positive purple tinge, and consequently useless for conversion into Champagne. [Illustration] At vintage-time everywhere is bustle and excitement; every one is big with the business in hand. In these ordinarily quiet little villages nestling amidst vine clad hollows, or perched half-way up a slope tinted from base to summit with richly-variegated hues, there is a perpetual pattering of sabots and a rattling and bumping of wheels over the roughly-paved streets. The majority of the inhabitants are afoot: the feeble feminine half, baskets on arm, thread their way with the juveniles through the rows of vines planted half-way up the mountain, and all aglow with their autumnal glories of green and purple, crimson and yellow; while the sturdy masculine portion are mostly passing to and fro between the press-houses and the wine-shops. Carts piled up with baskets, or crowded with peasants from a distance on their way to the vineyards, jostle the low railway-trucks laden with brand-new casks, and the somewhat rickety cabriolets of the agents of the big Champagne houses, who are reduced to clinch their final bargain for a hundred or more pièces of the peerless wine of Ay or Bouzy, Verzy or Verzenay, beside the reeking wine-press. Dotting the steep slopes like a swarm of huge ants are a crowd of men, women, and children, the men, in blue blouses or stripped to their shirt-sleeves, being for the most part engaged in carrying the baskets to and fro and loading the carts; whilst the women, in closely-fitting neat white caps, or wearing old-fashioned unbleached straw-bonnets of the contemned coalscuttle type, resembling the 'sun-bonnet' of the Midland counties, together with the children, are intent on stripping the vines of their luscious-looking fruit. They detach the grapes with scissors or hooked knives, technically termed 'serpettes,' and in some vineyards proceed to remove all damaged, decayed, or unripe fruit from the bunches before placing them in the baskets which they carry on their arms, and the contents of which they empty from time to time into a larger basket resembling an ass's pannier in shape, numbers of these being dispersed about the vineyard for the purpose, and invariably in the shade. When filled the baskets are carried by a couple of men to the roadside, along which dwarf stones carved with initials, and indicating the boundaries of the respective properties, are encountered every eight or ten yards, into such narrow strips are the vineyards divided. Large carts with railed open sides are continually passing backwards and forwards to pick these baskets up; and when one has secured its load it is driven slowly to the neighbouring pressoir, so that the grapes may not be in the least degree shaken, such is the care observed throughout every stage of the process of Champagne manufacture. When the vineyard slopes are very steep--as, for instance, at Mareuil--and the paths do not admit of the approach of carts, mules, equipped with panniers and duly muzzled, are employed to convey the gathered fruit to the press-house. [Illustration] [Illustration] In many vineyards the grapes are inspected in bulk instead of in detail before being sent to the wine-press. The hand-baskets, when filled, are brought to a particular spot, where their contents are minutely examined by some half-dozen men and women, who pluck off the bruised, rotten, and unripe berries, and fling them aside into a separate basket. In other vineyards we came upon parties of girls, congregated round a wicker sieve perched on the top of a large tub by the roadside, engaged in sorting the grapes, pruning away the diseased stalks, and picking off all the doubtful berries. The latter were let fall through the interstices of the sieve, while the sound fruit was deposited in large baskets standing beside the sorters, and which, as soon as they were filled, were conveyed to the pressoir. When the proprietor is of an economic turn he usually has the refuse grapes pressed for wine for home consumption. Spite of the minute examination to which the grapes are subjected, a sharp eye will frequently discover in the heart of what looks like a regular and well-grown bunch a grape that is absolutely rotten, and capable of infecting its companions when the whole are heaped up together in the wine-press. [Illustration: ARRIVAL OF THE GRAPES AT THE PRESS-HOUSE.] [Illustration: THE VINTAGE IN THE CHAMPAGNE: A WINE-PRESS AT WORK.] Carts laden with grapes are continually arriving at the pressoirs, discharging their loads and driving off for fresh ones. The piled-up baskets, marked with the names of the vineyard-owners whose grapes they contain, are temporarily stored under a shed in a cool place, and are brought into the pressoir from time to time as required. In the district of the River the grapes are weighed, while in that of the Mountain they are measured, before being emptied on to the floor of the press. In some places the latter is of the old-fashioned type, resembling the ordinary cider-press; but usually powerful presses of modern invention, worked by a large fly-wheel requiring four sturdy men to turn it, are employed. The grapes are spread over the floor of the press in a compact mass, and in some rare cases are lightly trodden by a couple of men with their naked feet before being subjected to mechanical pressure, which is again and again repeated, only the first squeeze giving a high-class wine, and the second and third a relatively inferior one. After three pressures the grapes are usually worked about with peels, and subjected to a final squeeze known as the 'rébêche,' which produces a sort of _piquette_, given to the workmen to drink, but in many instances forming the habitual, and indeed only, beverage of the economically-inclined peasant proprietor. The must filters through a wicker basket into the reservoir beneath, whence, after remaining a certain time to allow of its ridding itself of the grosser lees, it is pumped through a gutta-percha tube into the casks. The wooden stoppers of the bungholes, instead of being fixed tightly in the apertures, are simply laid over them, and after the lapse of ten or twelve days fermentation usually commences, and during its progress the must, which is originally of a pale-pink tint, fades to a light-straw colour. The wine usually remains undisturbed until Christmas, when it is drawn off into fresh casks and delivered to the purchaser. One peculiarity of the Champagne district is that, contrary to the prevailing practice in the other wine-producing regions of France, where the owner of even a single acre of vines will crush his grapes himself, only a limited number of vine-proprietors press their own grapes. The large Champagne houses, possessing vineyards, always have their pressoirs in the neighbourhood, and other large vine-proprietors press the grapes they grow; but the multitude of small cultivators invariably sell the produce of their vineyards to one or other of the former at a certain rate, either by weight or else by caque, a measure estimated to hold sixty kilogrammes (equal to 132 lb. avoirdupois) of grapes. The price which the fruit fetches varies of course according to the quality of the vintage and the requirements of the manufacturers; but the average may be taken at about 80 centimes per kilogramme, equivalent to rather more than 3-1/2_d._ per lb.[409] [Illustration] If in the Champagne the picturesque rejoicings immortalised in the Italian vintage scenes of Léopold Robert are lacking, and if the grapes, instead of being trodden to the blithe accompaniment of flute and fiddle, as in some parts of France, are pressed in more quiet fashion, a pleasant air of jollity nevertheless pervades the district at the season of the vintage. Every one participates in the interest which this excites. It influences the takings of all the artificers and all the tradespeople, and brings grist to the mill of the baker and the bootmaker, as well as to the café and cabaret. The contending interests of capital and labour are, moreover, singularly satisfied, the vintagers being content at getting their two francs and a half a day, and the men at the pressoirs their three francs and their food; the vineyard proprietor reaping the return of the time, care, and money expended upon his patch of vines, and the Champagne manufacturer acquiring raw material on sufficiently satisfactory terms, the which, when duly guaranteed by his name and brand, will bring to him both fame and fortune. Should the vintage be a scanty one, the plethoric _commissionnaires-en-vins_ will wipe their perspiring foreheads with satisfaction when they have at last secured the full number of hogsheads they had been instructed to buy--at a high figure maybe; still this is no disadvantage to them, as their commission mounts up the higher. And even the thickest-skulled among the small vine-proprietors, who make all their calculations on their fingers, see at a glance that, although the crop may be no more than half an average one, they are gainers, thanks to the ill-disguised anxiety of the agents to secure all the wine they require, which has the effect of sending prices up to nearly double those of ordinary years, and this with only half the work in the vineyard and at the winepress to be done. [Illustration] The vintage in the Champagne comes to a close without any of those festivals which still linger in the department of the Gironde. On the 22d of January, the fête of St. Vincent, the patron saint of vine-growers, it is customary, however, for one of the proprietors in each village to pay for a mass and give a breakfast to his relatives and friends, at which he presents a bouquet to one of the guests, who, in his turn, is expected to pay for the mass and give the breakfast the year following. On the same day the proprietors entertain their workpeople, who, after having eaten and drunk their fill, wind up the day with song and dance, leading to no end of innocent philandering between the sturdy sons of toil and the sunburnt daughters of labour. On these occasions the famous vintage song is sometimes heard: 'Vendangeons et vive la France, Le monde un jour avec nous trinquera.' [Illustration] [Illustration: THE DISGORGING, LIQUEURING, CORKING, STRINGING, AND WIRING OF CHAMPAGNE.] V. /The Preparation of Champagne./ The treatment of Champagne after it comes from the wine-press--The racking and blending of the wine--The proportions of red and white vintages composing the 'cuvée'--Deficiency and excess of effervescence--Strength and form of Champagne bottles--The 'tirage' or bottling of the wine--The process of gas-making commences--Details of the origin and development of the effervescent properties of Champagne--The inevitable breakage of bottles which ensues--This remedied by transferring the wine to a lower temperature--The wine stacked in piles--Formation of sediment--Bottles placed 'sur pointe' and daily shaken to detach the deposit--Effect of this occupation on those incessantly engaged in it--The present system originated by a workman of Madame Clicquot's--'Claws' and 'masks'--Champagne cellars--Their construction and aspect--Raw recruits for the 'Regiment de Champagne'--Transforming the 'vin brut' into Champagne--Disgorging and liqueuring the wine--The composition of the liqueur--Variation in the quantity added to suit diverse national tastes--The corking, stringing, wiring, and amalgamating--The wine's agitated existence comes to an end--The bottles have their toilettes made--Champagne sets out on its beneficial pilgrimage round the world. [Illustration] The special characteristic of Champagne is that its manufacture only commences where that of other wines ordinarily ends. No one would recognise in the still brut fluid--which, after being duly racked and fined, has somewhat the taste and colour of an acrid Rhine wine, with a more or less pronounced bitter flavour--that exhilarating essence which is capable of raising the most depressed spirits, and imparting gaiety to the dismallest gatherings. Much as Champagne may stand indebted to Nature, soil, climate, and species of vine, the sparkling fluid has contracted a far greater debt towards man, to whose incessant labour, patient skill, and minute precautions it owes that combination of qualities which causes it to be so highly prized. In the preceding chapter we left the newly-expressed must flowing direct from the press into capacious reservoirs, whence it is drawn off into large vats, where it clears itself by depositing its mucous lees, usually within twenty-four hours. It is then transferred to new or perfectly clean casks, holding some forty gallons each, in which a sulphur match has been previously burnt. These casks are not filled quite up to the bunghole, which is generally covered with a vine-leaf kept in its place by a piece of tile. The bulk of the newly-made wine is left to repose at the vendangeoirs until the commencement of the following year; still, when the vintage is over, numbers of long narrow carts laden with casks of newly-expressed must may be seen rolling along the dusty highways, bound for those towns and villages in the department of the Marne where the manufacture of Champagne is carried on, and where the leading firms have their establishments. Chief amongst these is the cathedral city of Reims, after which comes the rising town of Epernay, stretching to the very verge of the river; then Ay, nestling between the vine-clad slopes and the Marne canal, with the neighbouring village of Mareuil; next Pierry; and finally Avize, in the centre of the white-grape district southwards of Epernay. Châlons, owing to its distance from the vineyards, does not usually draw its supply of wine until the new year. In the vast celliers of the manufacturers' establishments, where a temperature of about 60 to 70 degrees Fahrenheit usually prevails, the wine undergoes its first fermentation, entailing a loss of about 7-1/2 per cent, and lasting from a fortnight to a month, according as to whether the wine be _mou_--that is, rich in sugar--or the reverse. In the former case fermentation naturally lasts much longer than when the wine is _vert_ or green. This active fermentation is converted into latent fermentation by transferring the wine to a cooler cellar, as it is essential it should retain a certain proportion of its natural saccharine to insure its future effervescence. The casks have previously been completely filled, and their bungholes tightly stopped, a necessary precaution to guard the wine from absorbing oxygen, the effect of which would be to turn it yellow, and cause it to lose some of its lightness and perfume. After being racked and fined--an operation generally performed about the third week in December--the produce of the different vineyards is ready for mixing together in accordance with the traditional theories of the various manufacturers; and should the vintage have been an indifferent one, a certain proportion of old reserved wine of a good year enters into the blend. The mixing is usually effected in gigantic vats holding at times as many as 12,000 gallons each, and having fan-shaped appliances inside, which, on being worked by handles, insure a complete amalgamation of the wine. This process of marrying wine on a gigantic scale is technically known as making the _cuvée_. Usually four-fifths of wine obtained from black grapes, and now of a pale-pink hue, are tempered by one-fifth of the juice of white ones. It is necessary that the first should comprise a more or less powerful dash of the finer growths both of the Mountain of Reims and of the River; while, as regards the latter, one or other of the delicate vintages of the Côte d'Avize is essential to the perfect _cuvée_. The aim is to combine and develop the special qualities of the respective crus, body and vinosity being secured by the red vintages of Bouzy and Verzenay, softness and roundness by those of Ay and Dizy, and lightness, delicacy, and effervescence by the white growths of Avize and Cramant. The proportions are never absolute, but vary according to the manufacturer's style of wine and the taste of the countries which form his principal markets. In the opinion of some clever amalgamators, a blend comprising one-third of the vintages of Sillery, Verzenay, and Bouzy, one-third of those of Mareuil, Ay, and Dizy, and the remaining third composed of the produce of Pierry, Cramant, and Avize, constitutes the wine of Champagne _par excellence_. Others not less expert declare that a simple mixture of the Ay, Pierry, and Cramant vintages furnishes a perfect wine. As when this blending takes place the wine is only imperfectly fermented and exceedingly crude, the reader may imagine the delicacy and discrimination of palate requisite to judge of the flavour, finesse, and bouquet which the _cuvée_ is likely eventually to develop. These, however, are not the only matters to be considered. There is, above everything, the effervescence, which depends upon the quantity of carbonic acid gas the wine already contains, and the further quantity it is likely to develop, which depends upon the amount of its natural saccharine. After the bottling, if the gas be present in excess, there will be a shattering of bottles and a flooding of cellars; while, on the other hand, if there be a paucity, the corks will refuse to pop, and the wine to sparkle aright in the glass. The amount of saccharine in the _cuvée_ has therefore to be accurately ascertained by means of a glucometer; and should it fail to reach the required standard, as is the case at times when the season has been wet and cold and the vintage a poor one, the deficiency is made up by the addition of the purest sugar-candy. If, on the other hand, there be an excess of saccharine, the only thing to be done is to defer the final blending and bottling of the wine until the superfluous saccharine matter has been absorbed by fermentation in the cask. [Illustration] The _cuvée_ completed, the blended wine, which in its present condition gives to the uninitiated palate no promise of the exquisite delicacy and aroma it is destined to develop, is drawn off again into casks for further treatment. This comprises fining with some gelatinous substance, usually isinglass, made into a jelly and strained through a 'tammy;' while, as a precaution against ropiness and other maladies, liquid tannin, derived from nut-galls, catechu, or grape husks and pips, is at the same time frequently added to supply the place of the natural tannin, which has departed from the wine with its reddish hue at the epoch of its first fermentation. If at the expiration of a month the wine has not become perfectly clear and limpid, it is racked off the lees, and the operation of fining is repeated. [Illustration] The operation of bottling the wine next ensues, when the scriptural advice not to put new wine into old bottles is rigorously followed. For the tremendous pressure of the gas engendered during the subsequent fermentation of the wine is such that the bottle becomes weakened, and can never be safely trusted again.[410] It is because of this pressure that the Champagne bottle is one of the strongest made, as indicated by its weight, which is almost a couple of pounds. To insure this unusual strength, it is necessary that the sides should be of equal thickness and the bottom of a uniform solidity throughout, in order that no particular expansion may ensue from sudden changes of temperature. The neck must, moreover, be perfectly round and widen gradually towards the shoulder. In addition--and this is of the utmost consequence--the inside ought to be perfectly smooth, as a rough interior causes the gas to make efforts to escape, and thus renders an explosion imminent. The composition of the glass, too, is not without its importance, as on one occasion a manufactory established for the production of glass by a new process turned out Champagne bottles charged with alkaline sulphurets, and the consequence was that an entire _cuvée_ was ruined by their use, through the reciprocal action of the wine and these sulphurets. The acids of the former disengaged hydrosulphuric acid, and instead of Champagne the result was a new species of mineral water. Most of the bottles used for Champagne come from the factories of Loivre (which supplies the largest quantity), Folembray, Vauxrot, and Quiquengrogne, and they cost on the average from 28 to 33 francs the hundred.[411] They are generally tested by a practised hand, who, by knocking them sharply together, professes to be able to tell, from the sound that they give, the substance of the glass and its temper, though occasionally a special machine, subjecting them to hydraulic pressure, is had recourse to. [Illustration] The operation of washing, which takes place immediately preceding the bottling of the wine, is invariably performed by women, who at the larger establishments accomplish it with the aid of machines, provided at times with a revolving brush, although small glass beads are generally used by preference. Each bottle after being washed is minutely examined, to make certain of its perfect purity, and is then placed neck downwards in a tall basket to drain. [Illustration: MACHINE FOR FIXING THE AGRAFES.] With the different Champagne houses the mode of bottling the wine, which may take place any time between April and August, varies in some measure, still the _tirage_, as this operation is called, is ordinarily effected as follows: The wine, after a preliminary test as to its fitness for bottling, is emptied from the casks into vats or tuns of varying capacity in the _salle du tirage_. From these it flows through pipes into oblong reservoirs, each provided with a row of syphon-taps, on to which the bottles are slipped, and from which the wine ceases to flow directly the bottles become filled. Men or lads remove the full bottles, replacing them by empty ones, while other hands convey them to the corkers, whose guillotine machines are incessantly in motion. Speed in the process is of much importance, as during a single day the wine may undergo a notable change. From the corkers the bottles are passed on to the _agrafeurs_, who secure the corks by means of an iron clip termed an agrafe; and they are afterwards conveyed either to a spacious room above-ground known as a cellier or to a cool vault underground, according to the number of atmospheres which the wine may indicate. [Illustration] With reference to these atmospheres, it should be explained that air compressed to half its volume acquires twice its ordinary force, and to a quarter of its volume quadruple this force--hence the phrase of two, four, or more atmospheres. The exact degree of pressure is readily ascertained by means of a manometer, an instrument resembling a pressure-gauge, with a hollow screw at the base, which is driven through the cork of the bottle. A pressure of 5-3/4 atmospheres constitutes what is styled a 'grand mousseux,' and the wine exhibiting it may be safely conveyed to the coolest subterranean depths, for no doubt need be entertained as to its future effervescent properties. Should the pressure, however, scarcely exceed four atmospheres, it is advisable to keep the wine in a cellier above-ground, that it may more rapidly acquire the requisite sparkling qualities. If fewer than four atmospheres are indicated, it would be necessary to pour the wine back into the casks again, and add a certain amount of cane-sugar to it; but such an eventuality very rarely happens, thanks to the scientific formulas and apparatus, which enable the degree of pressure the wine will show to be determined beforehand to a nicety. Still mistakes are sometimes made, and there are instances where charcoal fires have had to be lighted in the cellars to encourage the latent effervescence to develop itself.[412] [Illustration: THE TIRAGE OR BOTTLING OF CHAMPAGNE.] The bottles are first placed in a horizontal position, the side to be kept uppermost being indicated by a daub of whitewash, and are stacked in rows of varying length and depth, one above the other, to about the height of a man, with narrow laths between them. Thus they will spend the summer, providing all goes well; but in about three weeks' time the process of gas-making inside the bottles is at its height, and a period of considerable anxiety to the Champagne manufacturer ensues, through his dread lest an undue number of them should burst from the expansion of the carbonic acid gas generated in the wine. The glucometer notwithstanding, it is impossible to check a certain amount of breakage, especially when a hot season has caused the grapes, and consequently the raw wine, to be sweeter than usual. Moreover, when once _casse_ or breakage sets in on a large scale, the temperature of the cellar is raised by the volume of carbonic acid gas let loose, which is not without its effect on the remaining bottles. Not only does the increased temperature unduly accelerate fermentation, but the mere shock of one bottle exploding often starts such of its neighbours as are predisposed that way, in addition to the direct havoc wrought by the heavier fragments of flying glass. The only remedy is the instant removal of the wine to a lower temperature whenever this is practicable. [Illustration] A manufacturer of the pre-scientific days of the last century relates how one year, when the wine was rich and strong, he only preserved 120 out of 6000 bottles; and it is not long since that 120,000 out of 200,000 were destroyed in the cellars of a well-known Champagne firm. M. Mauméné, moreover, relates that in 1850 he was called in to consult about the checking of a _casse_, which had already reached 96 per cent.[413] Over-knowing purchasers affect to select a wine which has exploded in the largest proportion in the cellars, as being well up to the mark as regards its effervescence, and are in the habit of making inquiries as to its performances in this direction. [Illustration] It is evident that, in spite of the teachings of science, the bursting of Champagne bottles has not yet been reduced to a minimum, for whereas in some cellars it averages 7 and 8 per cent, and rises to 15 when the pressure is unusually strong, in others it rarely exceeds 2-1/2 or 3. The period between May and September is that in which the greatest destruction takes place. In the month of October, the first and severest breakage being over, the newly-bottled wine is definitively stacked in the cellars in piles from two to half a dozen bottles deep, from six to seven feet high, and frequently a hundred feet or upwards in length. Usually the bottles remain in their horizontal position, in which they gradually develop two essential qualities, that of effervescing well and that of travelling satisfactorily, for about eighteen or twenty months, though some firms, who pride themselves upon shipping perfectly matured wines, leave them thus for double this space of time. During this period the temperature to which the wine is exposed is, as far as practicable, carefully regulated; for the risk of breakage, though greatly diminished, is never entirely at an end. [Illustration] [Illustration] By this time the fermentation is over; but in the interval, commencing from a few days after the bottling of the wine, a loose dark-brown sediment has been forming, which has now settled on the lower side of the bottle, and to get rid of which is a delicate and tedious task. As the time approaches for preparing the wine for shipment, the bottles are placed _sur pointe_, as it is termed--that is to say, slantingly in racks with their necks downwards, the inclination being increased from time to time to one more abrupt.[414] The object of this change in their position is to cause the sediment to leave the side of the bottle where it has gathered. Afterwards it becomes necessary to twist and turn it and coagulate it, as it were, until it forms a kind of muddy ball, and eventually to get it well down into the neck of the bottle, so that it may be finally expelled with a bang when the temporary cork is removed and the proper one adjusted. To accomplish this the bottles are sharply turned in one direction every day for at least a month or six weeks, the time being indefinitely extended until the sediment shows a disposition to settle near the cork. The younger the wine the longer the period necessary for the bottles to be shaken, new wine often requiring as much as three months. Only a thoroughly practised hand can give the right amount of revolution and the requisite degree of slope; and in some of the cellars men were pointed out to us who had acquired such dexterity as to be able at a pinch to shake with their two hands as many as 50,000 bottles in a single day, whilst 30,000 to 40,000 is by no means an uncommon performance. [Illustration] Some of these men have spent thirty or forty years of their lives engaged in this perpetual task. Fancy being entombed all alone day after day in vaults which are invariably dark and gloomy, and often cold and dank, and being obliged to twist sixty to seventy of these bottles every minute throughout the day of ten hours! Why, the treadmill and the crank, with their periodical respites, must be pastime compared to this maddeningly monotonous occupation, which combines hard labour, with the wrist, at any rate, with next to solitary confinement. One can understand these men becoming gloomy and taciturn, and affirming that they sometimes see devils hovering over the bottle-racks and frantically shaking the bottles beside them, or else grinning at them as they pursue their humdrum task. Still it may be taken for granted that the men who reach this stage are accustomed to drink freely of raw spirits, as an antidote to the damp to which they are exposed, and merely pay the penalty of their over-indulgence. [Illustration] In former times the bottles used to be placed with their heads downwards on tables pierced with holes, from which they had to be removed and agitated. At a still earlier date the process was more or less successfully accomplished by holding the bottles upside down by the neck, tapping them at the bottom to detach the sediment, and then, after shaking them well up, laying them on their sides until the operation was repeated. In 1818, however, a man named Müller, in the employment of Madame Clicquot, suggested that the bottles should remain in the tables whilst being shaken, and further that the holes should be cut obliquely, so that they might recline at varying angles. His suggestions were privately adopted by Madame Clicquot; but eventually the improved plan got wind, and the system which he initiated now prevails throughout the Champagne.[415] [Illustration] When the bottles have gone through their regular course of shaking, they are examined before a lighted candle to ascertain whether the deposit has all fallen on to the cork, and the wine has become perfectly clear. Sometimes it happens that, twist these men never so wisely, the deposit, instead of becoming flaky or granular, refuses to stir, and takes the shape of a bunch of threads technically called a 'claw,' or an adherent membrane styled a 'mask.' When this is the case an attempt is made to start it by tapping the part to which it adheres with a piece of iron, the result being frequently the sudden explosion of the bottle in the workman's hands. By way of precaution, therefore, the operator protects his face with a wire mask, or by gigantic wire spectacles, which give to him a ghoul-like aspect. Frequently it is found impossible to detach the 'mask' from the side of the bottle, and in this case the only thing that remains is to pour the wine back again into the cask, with the view of mixing it in some future _cuvée_.[416] [Illustration] The cellars of the Champagne manufacturers are very varied in character. The wine that has been grown on the chalky hills is left to develop itself in vaults burrowed out of the calcareous strata which underlie the entire district. In excavating these cellars the sides and roofs are frequently worked smooth and regular as finished masonry. The larger ones are composed of a number of spacious and lofty galleries, sometimes parallel with each other, but often ramifying in various directions, and evidently constructed on no definite plan. They are of one, two, and, in rare instances, of three stories, and now and then consist of a series of parallel galleries communicating with each other, lined with masonry, and with their stone walls and vaulted roofs resembling the crypt of some conventual building. Others of ancient date are less regular in their form, being merely so many narrow, low, winding corridors, varied, perhaps, by recesses hewn roughly out of the chalk, and resembling the brigands' cave of melodrama; while a certain number of the larger cellars at Reims are simply abandoned quarries, the broad and lofty arches of which are suggestive of the nave and aisles of some Gothic church. In these varied vaults, lighted by solitary lamps in front of metal reflectors, or by the flickering tallow candles which we carry in our hands, we pass rows of casks filled with last year's vintage or reserved wine of former years, and piles after piles of bottles of _vin brut_ in seemingly endless sequence--squares, so to speak, of raw recruits for the historically famous 'Regiment de Champagne'[417]--awaiting their turn to be thoroughly drilled and disciplined. These are varied by bottles reposing neck downwards in racks at different degrees of inclination, according to the progress their education has attained. Reports caused by exploding bottles now and then assail the ear, and as the echo dies away it becomes mingled with the rush of the escaping wine, cascading down the pile, and finding its way across the sloping sides of the floor to the narrow gutter in the centre. The dampness of the floor and the shattered fragments of glass strewn about show the frequency of this kind of accident. [Illustration: DETACHING THE 'MASK' FROM THE SIDES OF THE BOTTLES.] In these subterranean galleries we frequently come upon parties of workmen engaged in transforming the perfected _vin brut_ into Champagne. Viewed at a distance while occupied in their monotonous task, they present in the semi-obscurity a series of picturesque Rembrandt-like studies. One of the end figures in each group is engaged in the important process of _dégorgement_, which is performed when the deposit, of which we have already spoken, has satisfactorily settled in the neck of the bottle. Baskets full of bottles with their necks downwards are placed beside the operator, who stands before a cask set on end, and having a large oval opening in front. This nimble-fingered manipulator seizes a bottle, raises it for a moment before the light to test the clearness of the wine and the subsidence of the deposit; holds it horizontally in his left hand, with the neck directed towards the opening already mentioned; and with a jerk of the steel hook which he holds in his right hand loosens the agrafe securing the cork. Bang goes the latter, and with it flies out the sediment and a small glassful or so of wine, further flow being checked by the workman's finger, which also serves to remove any sediment yet remaining in the bottle's neck. Like many other clever tricks, this looks very easy when adroitly performed, though a novice would probably allow the bottle to empty itself by the time he discovered that the cork was out. Yet such is the dexterity acquired by practice that the average amount of wine, foam, and deposit ejected by this operation does not exceed one-fourteenth of the contents of the bottle. Occasionally a bottle bursts in the _dégorgeur's_ hand, and his face is sometimes scarred from such explosions. The sediment removed, the _dégorgeur_ slips a temporary cork into the bottle, or places the latter in a machine provided with fixed gutta-percha corks and springs for securing the bottles firmly in their places. The wine is now ready for the important operation of the _dosage_, upon the nature and amount of which the character of perfected Champagne, whether it be dry or sweet, light or strong, very much depends.[418] [Illustration] Different manufacturers have different recipes for the composition of this syrup, all more or less complex in character, and varying with the quality of the wine and the country for which it is intended; but the genuine liqueur consists of nothing but old wine of the best quality, to which a certain amount of sugar-candy and perhaps a dash of the finest cognac spirit has been added.[419] The saccharine addition varies according to the market for which the wine is destined: thus the high-class English buyer demands a dry Champagne, the Russian a wine sweet and strong as 'ladies' grog,' and the Frenchman and German a sweet light wine. To the extra-dry Champagnes a modicum dose is added, while the so-called '_brut_' wines receive no more than from one to three per cent of liqueur.[420] [Illustration] In establishments wedded to old-fashioned usages the dose is administered with a tin can or ladle; but more generally an ingenious machine which regulates the percentage of liqueur to a nicety is employed. The bottle being usually nearly full when passed to the _doseur_, he, when a heavy percentage of liqueur has to be administered, is constrained, under the old system, to pour out some of the wine to make room for it, and this surplus in many cases is afterwards transformed into the well-known _tisane de Champagne_. As soon as the _dosage_ is accomplished, the bottle is passed to another workman known as the _égaliseur_, who fills it up with pure wine, frequently with a part of that which has been poured out by the _doseur_, to the requisite level for corking. In the event of a pink Champagne being required, the wine thus added will be red, although manufacturers of questionable reputation sometimes employ the solution of elderberries, known as _teinte de Fismes_, to impart that once-favourite roseate hue which has been compared to the glow of fading sunlight on a crystal stream. [Illustration: THE DOSEUR.] [Illustration: THE CORKER.] [Illustration: THE METTEUR DE FIL.] [Illustration: DOSING MACHINE.] [Illustration: CORKING MACHINE.] The _égaliseur_ in his turn hands the bottle to the corker, who places it under a machine furnished with a pair of claws (so as to compress the cork to a size sufficiently small to allow it to enter the neck of the bottle) and a suspended weight, which in falling drives it home. These corks, principally obtained from Catalonia and Andalucia, are bound to possess a close and regular fibre and perfect elasticity. They form no unimportant item in the Champagne manufacturer's budget, costing upwards of twopence each, and are delivered in huge sacks resembling hop-pockets. Previous to being used they are either boiled in wine or soaked in a solution of tartar, or else they have been steamed by the cork merchants, in order to prevent their imparting a bad flavour to the wine, and to hinder any leakage. They are commonly handed warm to the corker, who dips them into a small vessel of wine before making use of them. Some firms, however, prepare their corks by subjecting them to cold-water _douches_ a day or two beforehand. The _ficeleur_ receives the bottle from the corker, and with a twist of the fingers secures the cork with string, at the same time rounding its hitherto flat top, at a rate which allows from a thousand to twelve hundred bottles to pass through his hands in course of the day. The _metteur de fil_ next affixes the wire with like celerity;[421] and then the final operation is performed by a workman seizing a couple of bottles by the neck and whirling them round his head, as though engaged in the Indian-club exercise, in order to secure a perfect amalgamation of the wine and the liqueur. [Illustration] The final manipulation accomplished, the agitated course of existence through which the wine has been passing at last comes to an end, and the bottles are conveyed to another part of the establishment, where they repose for several days, or even weeks, in order that the mutual action of the wine and the liqueur upon each other may be complete. When the time arrives for despatching them, they are confided to feminine hands to have their dainty toilettes made, and are tastefully labelled, and are either capsuled, or else have their corks and necks imbedded in sealing-wax or swathed in gold or silver foil, whereby they are rendered presentable at the best-appointed tables. All that now remains is to wrap them up in coloured tissue-paper, to slip them into straw envelopes, or encircle them with wisps of straw, and pack them either in cases or baskets for despatch to all quarters of the civilised globe. [Illustration] It is thus that Champagne sets out on its beneficial pilgrimage to promote the spread of mirth and light-heartedness, to drive away dull care and foment good-fellowship, to comfort the sick and cheer the sound. Wherever civilisation penetrates, Champagne sooner or later is sure to follow; and if Queen Victoria's morning drum beats round the world, its beat is certain to be echoed before the day is over by the popping of Champagne corks. Nowadays the exhilarating wine graces not merely princely but middle-class dinner-tables, and is the needful adjunct at every _petit souper_, as well as the stimulant to the wildest revels in all the gayer capitals of the world. It gives a flush to beauty at garden-parties and picnics, sustains the energies of the votaries of Terpsichore until the hour of dawn, and imparts to many a young gallant the necessary courage to declare his passion. It enlivens the dullest of _réunions_, brings smiles to the lips of the sternest cynics, softens the most irascible tempers, and loosens the most taciturn tongues. The grim Berliner and the gay Viennese both acknowledge the exhilarating influence of the wine. Champagne sparkles in crystal goblets in the great capital of the North, and the Moslem wipes its creamy foam from his beard beneath the very shadow of the mosque of St. Sophia; for the Prophet has only forbidden the use of wine, and of a surety--Allah be praised!--this strangely-sparkling delicious liquor, which gives to the true believer a foretaste of the joys of Paradise, cannot be wine. At the diamond-fields of South Africa and the diggings of Australia the brawny miner who has hit upon a big bit of crystallised carbon, or a nugget of virgin ore, strolls to the 'saloon' and shouts for Champagne. The mild Hindoo imbibes it quietly, but approvingly, as he watches the evolutions of the Nautch girls, and his partiality for the wine has already enriched the Anglo-Bengalee vocabulary and London slang with the word 'simkin.' It is transported on camel-backs across the deserts of Central Asia, and in frail canoes up the mighty Amazon. The two-sworded Daimio calls for it in the tea-gardens of Yokohama, and the New Yorker, when not rinsing his stomach by libations of iced water, imbibes it freely at Delmonico's. Wherever the Romans died they left traces behind them in their quaint funeral urns; wherever the civilised man of the nineteenth century has set his foot--at the base of the Pyramids and at the summit of the Cordilleras, in the mangrove swamps of Ashantee and the gulches of the Great Lone Land, in the wilds of the Amoor and on the desert isles of the Pacific--he has left traces of his presence in the shape of the empty bottles that were once full of the sparkling vintage of the Marne. They are strewn broadcast over the face of the globe, literally from Indus to the Pole. The crews of the Alert and the Discovery left them on the ice-bound verge of the paleocrystic sea; the French expeditionary columns have scattered them within the limits of the Great Sahara. In the lodges of the red man they are found playing the part of a great medicine, and in the huts of the negro they assume all the importance due to a big fetish. Stanley, arriving fainting and exhausted at the mouth of the Congo, hailed with joy the foil-tipped flask that the hospitable merchants who answered his appeal for succour had despatched; and as he quaffed its contents, recalled how he and Livingstone, when thousands of miles from any other European, had emptied a bottle of sparkling Champagne together on the night of their memorable meeting at Ujiji. And when, after the battle of Ulundi, the victorious British troops occupied Cetewayo's kraal, they found within the sable potentate's private chamber several empty Champagne bottles, the contents of which, it is to be presumed, he had quaffed the night before to the success of his followers. In the Transvaal too, during the negotiations for an armistice, Sir Evelyn Wood regaled the Boer delegates with Champagne. On a subsequent occasion, the latter were unable to return the compliment, excusing themselves by suggestively remarking, 'We don't take such things with us when we go to fight.' [Illustration] [Illustration: RENAISSANCE HOUSE AT REIMS, IN WHICH MADAME CLICQUOT RESIDED.] VI. /Reims and its Champagne Establishments./ The city of Reims--Its historical associations--The Cathedral--Its western front one of the most splendid conceptions of the thirteenth century--The sovereigns crowned within its walls--Present aspect of the ancient archiepiscopal city--The woollen manufactures and other industries of Reims--The city undermined with the cellars of the great Champagne firms--Reims hotels--Gothic house in the Rue du Bourg St. Denis--Renaissance house in the Rue de Vesle--Church of St. Jacques: its gateway and quaint weathercock--The Rue des Tapissiers and the Chapter Court--The long tapers used at religious processions--The Place des Marchés and its ancient houses--The Hôtel de Ville--Statue of Louis XIII.--The Rues de la Prison and du Temple--Messrs. Werlé & Co., successors to the Veuve Clicquot-Ponsardin--Their offices and cellars on the site of a former Commanderie of the Templars--Origin of the celebrity of Madame Clicquot's wines--M. Werlé and his son--Remains of the Commanderie--The forty-five cellars of the Clicquot-Werlé establishment--Our tour of inspection through them--Ingenious dosing machine--An explosion and its consequences--M. Werlé's gallery of paintings--Madame Clicquot's Renaissance house and its picturesque bas-reliefs--The Werlé vineyards and vendangeoirs. [Illustration: HEAD OF BACCHUS IN THE COURTYARD OF THE HÔTEL DU LION D'OR.] The ancient city of Reims is pleasantly situate in a spacious natural basin, surrounded by calcareous hills, for the most part planted with vines. It is fertile in historical associations, rich in archæological treasures, and at the same time able to claim the respect more readily accorded in the nineteenth century to a busy and prosperous commercial centre. Indeed, its historical, archæological, and commercial importance is in advance of its actual political situation, for administratively it only ranks as a simple subprefecture in the department of the Marne. The student of history can hardly afford to neglect a city so intimately associated with the story of monarchy in France, and one which has witnessed the coronations of a long series of sovereigns, beginning with Clovis and ending with Charles X. From the day when the 'proud Sicamber' bent his neck at the adjuration of St. Remi, and vowed to adore that which he had burnt and to burn that which he had adored, down to the time when the future exile of Holyrood had his forehead touched by Jean Baptiste Antoine de Latil with the remnant of the 'sacred pomatum' so miraculously saved from revolutionary hands, few of the titular rulers of the country have failed to honour it with their presence. As the Durocortorum of Cæsar, the residence of Charlemagne, the seat of the great Ecclesiastical Councils of the twelfth century, the stronghold of the League, and the scene of one of the first Napoleon's most brilliant feats of arms during the campaign of 1813-14, it has also earned for itself a conspicuous place in history. To Englishmen it is, perhaps, most noteworthy as having successfully checked the victorious advance of the third Edward after Cressy, and witnessed the apogee of that meteoric career, which began in the inn-yard at Domremi and ended in the market-place at Rouen, the career of Jeanne la Pucelle. Nor must it be forgotten that Reims sheltered the childhood of Mary Stuart, and saw the heralds of England hurl solemn defiance at Henri II. in the Abbey of St. Remi, at the command of Mary Tudor. [Illustration: GENERAL VIEW OF REIMS, 1880.] To the archæologist as to the ordinary sightseer, the chief attractions presented by Reims consist in its numerous ecclesiastical edifices, some still serving the purpose for which they were originally erected, others long since converted to secular usages. Most conspicuous among them is the cathedral church of Notre Dame, the stately basilica in which the sovereigns of France were wont to be crowned. This superb monument of Gothic architecture was commenced in 1210, upon the plans of Robert de Coucy, by Archbishop Alberic de Humbert. It was completed at the commencement of the fourteenth century, and though the original design was somewhat modified--owing, it is said, to the contributions of the faithful not coming in with sufficient rapidity--it remains a marvel of strength, admirably combined with grace. The exterior is extremely fine; and the western face, with its elaborately ornate portal, has been described as 'one of the most splendid conceptions of the thirteenth century.'[422] Amidst the almost bewildering multiplicity of ornament, the triple porch, surmounted by a group representing the Coronation of the Virgin, the great rose window, flanked by colossal effigies of David and Goliath, and the range of statues known as the Gallery of the Kings, running across the façade near its summit, are conspicuous. The interior, although fine, and containing many objects of interest, is less impressive, while the plundered treasury can still boast of many quaint and curious relics of bygone times. But the chief interest centres in the fact of the surrounding walls having witnessed so many scenes of stately pomp and pageantry. St. Louis, Philip the Fair, Philip of Valois, the unfortunate John the Good, Charles the Simple, and Charles the Victorious, with Joan of Arc, standard in hand, by his side; the wily Louis XI., Louis the Father of his People, the magnificent Francis I., and his scarcely less magnificent son, the young husband of Mary Queen of Scots; the savage Charles IX., Henri III., with his protest that the crown hurt him, Louis the Just, the Roi Soleil himself, Louis the Well-Beloved, the hapless Louis Seize, and Charles X., have all knelt here in turns whilst the crown was placed on their heads, the sword girded to their sides, and the oriflamme waved above them. Many of the most famous cities of the Middle Ages are mere fossilised representatives of former grandeur, but with Reims the case is otherwise. If somewhat fallen from its former high estate, politically speaking--though it should be remembered that Troyes was the titular capital of the Champagne when the province was ruled by independent Counts--its material prosperity has augmented. Round the nucleus of narrow and often tortuous streets, representing the old archiepiscopal city--the 'Little Rome' of the twelfth century--a network of spacious thoroughfares and broad boulevards has spread itself, and the life and movement of a busy manufacturing population are not lacking. In addition to the wine trade, which of course employs, both directly and indirectly, a large number of hands, Reims is one of the most important seats of the woollen manufacture in France, and the industrial element forms a very important factor amongst its inhabitants. In addition to the flannels, merinoes, blankets, trouserings, shawls, &c., that are annually produced, to the value of from thirty to forty million of francs, there is also a considerable production of gingerbread, biscuits, and dried pears, enjoying a wide-spread reputation. The cellars of the great Champagne manufacturers of Reims are scattered in all directions over the historical old city. They undermine its narrowest and most insignificant streets, its broad and handsome boulevards, and on the eastern side extend beyond its more distant outskirts. In whichever direction we may elect to proceed when visiting the principal Champagne establishments, our starting-point will necessarily be the vicinity of the Cathedral, for it is here that all the hotels are situated. Facing the great western doorway of the ancient Gothic edifice is the Hôtel Lion d'Or, formerly the Hôtel Petit Moulinet, where the allied sovereigns sojourned on their way to Paris in 1814, and Napoleon rested on his flight after the battle of Waterloo. Close by is the Hôtel Maison Rouge, with the commemorative tablet on its renovated façade setting forth that in the year 1429, at the coronation of Charles VII. in this hostelry, then named the Striped Ass, the father and mother of Jeanne Darc were lodged at the expense of the city council. Almost facing is the newly-erected Grand Hôtel, and on the north-western side of the Cathedral is the Hôtel de Commerce, the resort, as its name implies, of most of the commercial travellers frequenting the capital of the Champagne. The visitor to Reims, be his object business or pleasure, is bound to put up at one or other of these four hostelries, and hence the starting-point of his peregrinations is necessarily the same. [Illustration: GOTHIC DOORWAY IN THE RUE DU BOURG ST. DENIS, REIMS.] Proceeding along the Rue Tronçon Ducoudray, we reached the Rue de Vesle, where the Palais de Justice and the new theatre are situated. In the adjacent Rue du Bourg St. Denis is an old house--the ground-floor of which is a wine-shop styled Buvette du Théâtre--notable for its antique Gothic doorway, containing, within the upper portion of the arch, the bas-relief of a man fighting with a bear. There is a tradition that on this spot formerly stood a hospital dedicated to St. Hubert, and intended for the reception of persons wounded when hunting, or who might have chanced to be bitten by mad dogs. In the Rue de Vesle is another old house with an ornamental frieze surmounting its façade, which looks on to one of the entrances of the Church of St. Jacques. This edifice, originally erected at the close of the twelfth century, is hemmed in on all sides by venerable-looking buildings, while above them rises its tapering steeple, surmounted by a mediæval weathercock in the form of an angel. The interior of the church presents a curious jumble of architectural styles from early Gothic to late Renaissance. One noteworthy object of art which it contains is a life-size crucifix carved by Pierre Jacques, a Remois sculptor of the days of the Good King Henri, and from an anatomical point of view a perfect _chef-d'[oe]uvre_. [Illustration: FRIEZE OF OLD HOUSE IN THE RUE DE VESLE, REIMS.] [Illustration: GATEWAY OF THE CHURCH OF ST. JACQUES, REIMS.] [Illustration: WEATHERCOCK OF THE CHURCH OF ST. JACQUES.] The Rue de Vesle merges into the Rue des Tapissiers, where in former times the carpet manufacturers of Reims had their warehouses. In the fourteenth and fifteenth centuries the carpets of Reims were as famous in France as those of Aubusson are to-day, but subsequently they began to decline. Half-way up this street--where, by the way, in 1694 the first numbers of the _Gazette de France_, the oldest existing French newspaper, were printed, the news being duly forwarded from Paris--we pass the ancient gateway leading to the chapter-court of the Cathedral. Within the court a weekly market of small wares is now held; but in the days when the archbishops, dukes, and peers of Reims wielded sovereign sway in the capital of the Champagne, this open space was a _champ clos_, where trials by battle took place. The surrounding buildings comprised residences for various ecclesiastics connected with the Cathedral, together with a small farm whence these epicurean priests derived their supply of fresh milk and fatted capons. According to ancient custom, the inhabitants of the houses facing the chapter-gateway were required to keep their doors and windows open on days of religious processions, the tapers carried by the clergy on these occasions being of such immoderate length that it was necessary to incline them, and run them into the doors and windows of the houses opposite when the bearers passed under the archway. [Illustration: GOTHIC HOUSE IN THE MARKET-PLACE, REIMS.] At the end of the Rue des Tapissiers is the handsome Place Royale, connected with the Place des Marchés by a broad rectangular street lined with lofty edifices in the modern Parisian style of architecture. A break ensues in this range of massive-looking buildings as we enter the ancient Place des Marchés, the forum of Roman Reims, and to-day bordered more or less by houses of a mediæval character, remarkably well preserved. Principal among these is a Gothic timber-house of the fifteenth century, with its projecting upper stories supported by elaborately-carved corbels, and its entire façade enriched with mouldings and finials, and with columns and capitals overlaid with sculptured ornaments. [Illustration: STATUE OF LOUIS XIII. ON THE HÔTEL DE VILLE, REIMS.] Some little distance beyond the Place des Marchés is the Place de l'Hôtel de Ville, which derives all its interest from the handsome-looking edifice in the florid Italian style of the early part of the seventeenth century which gives it its name. The façade of this building is profusely decorated with Ionic, Doric, and Corinthian columns, and on the pediment above the principal entrance is a bas-relief equestrian statue of Louis XIII., whom the Latin inscription beneath fulsomely characterises as 'the just, the pious, the victorious, the clement, the beloved of his people, the terror of his enemies, and the delight of the world,' and to whom 'the senate and inhabitants of Reims have raised this imperishable trophy.' Some century and a half later, however, the imperishable trophy got hurled down and shattered into fragments by the populace, and its vacant place was only filled by the present statue in the year 1818. To the right of the Place is the Chambre des Notaires of Reims, raised on the site of the ancient _présidial_, or court of justice, where the city magistrates used to be elected during the Middle Ages, and to which a chapel and a prison were attached. The latter building evidently gave its name to the adjoining Rue de la Prison, the gloomy-looking houses of which--of a more massive character than the gabled structures of the market-place and the Rue de l'Etape--with their formidably-barred windows, possible relics of the religious wars, seem to frown, as it were, upon the passer-by. In a narrow tortuous street leading from this thoroughfare Messrs. Werlé & Co., the successors of the famous Veuve Clicquot-Ponsardin, have their offices and cellars, on the site of a former Commanderie of the Templars; and strangers passing by this quiet spot would scarcely imagine that under their feet hundreds of busy hands are incessantly at work, disgorging, dosing, shaking, corking, storing, wiring, labelling, capsuling, waxing, tinfoiling, and packing hundreds of thousands of bottles of Champagne destined for all parts of the civilised world. The house of Clicquot, established in the year 1798 by the husband of La Veuve Clicquot-Ponsardin, who died in 1866, in her 89th year, was indebted for much of the celebrity of its wine to the lucky accident of the Russians occupying Reims in 1814 and 1815, and freely requisitioning the sweet Champagne stored in the widow's capacious cellars. Madame Clicquot's wines were slightly known in Russia prior to this date; but the officers of the invading army, on their return home, proclaimed their merits throughout the length and breadth of the Muscovite Empire, and the fortune of the house was made. Madame Clicquot, as every one knows, amassed enormous wealth, and succeeded in marrying both her daughter and granddaughter to counts of the _ancien régime_. The present head of the firm is M. Werlé, who comes of an old Lorraine family although born in the ancient free imperial town of Wetzlar on the Lahn, where Goethe lays the scene of his 'Sorrows of Werther,' the leading incidents of which really occurred there. M. Werlé entered the establishment which he has done so much to raise to its existing position so far back as the year 1821. His care and skill, exercised for nearly two-thirds of a century, have largely contributed to obtain for the Clicquot brand that high repute which it enjoys to-day all over the world. M. Werlé, who has long been naturalised in France, was for many years Mayor of Reims and President of its Chamber of Commerce, as well as one of the deputies of the Marne to the Corps Législatif. He enjoys the reputation of being the richest man in Reims, and, like his late partner, Madame Clicquot, he has also secured brilliant alliances for his children, his son, M. Alfred Werlé, having married the daughter of the Duc de Montebello, while his daughter espoused the son of M. Magne, Minister of Finance under the Second Empire. [Illustration: HEADS OF PH[OE]BUS AND BACCHUS.] Half-way down the narrow Rue du Temple is an ancient gateway, on which may be traced the half-effaced sculptured heads of Ph[oe]bus and Bacchus. Immediately in front is a green _porte-cochère_ forming the entrance to the Clicquot-Werlé establishment, and conducting to a spacious trim-kept courtyard, set off with a few trees, with some extensive stabling and cart-sheds on the left, and on the right hand the entrance to the cellars. Facing us is an unpretending-looking edifice, where the firm has its counting-houses, with a little corner tower surmounted by a characteristic weathercock consisting of a figure of Bacchus seated astride a cask beneath a vine-branch, and holding up a bottle in one hand and a goblet in the other. The old Remois Commanderie of the Knights Templars existed until the epoch of the Great Revolution, and today a few fragments of the ancient buildings remain adjacent to the 'celliers' of the establishment, which are reached through a pair of folding-doors and down a flight of stone steps. The date of the foundation of this Commanderie is uncertain, but it is known that a Templar's church occupied a portion of the site in 1170. In 1311 both the church and the Commanderie passed into possession of the Order of St. John of Jerusalem, which held them until the epoch of the Revolution. Formerly the _échevins_ of Reims used to be elected in the ancient hall of the Commanderie, which at one period was a sanctuary for debtors, and also for criminals. Early in the present century the buildings were sold and demolished. [Illustration: THE CLICQUOT-WERLÉ ESTABLISHMENT AT REIMS.] [Illustration] [Illustration: Arms of the Dauphins of France. Arms of the Knight of Malta. DEVICES FROM THE COMMANDERIE AT REIMS.] After being furnished with lighted candles, we set out on our tour of inspection of the Clicquot-Werlé establishment, entering first of all the vast cellar of St. Paul, where the thousands of bottles requiring to be daily shaken are reposing necks downward on the large perforated tables which crowd the apartment. It is a peculiarity that each of the Clicquot-Werlé cellars--forty-five in number, and the smallest among them a vast apartment--has its special name. In the adjoining cellar of St. Matthew other bottles are similarly arranged, and here wine in cask is likewise stored. We pass rows of huge tuns, each holding its twelve or thirteen hundred gallons of fine reserved wine designed for blending with more youthful growths; next, are threading our way between seemingly endless piles of hogsheads filled with later vintages, and anon are passing smaller casks containing the syrup with which the _vin préparé_ is dosed. At intervals we come upon some square opening in the floor through which bottles of wine are being hauled up from the cellars beneath in readiness to receive their requisite adornment before being packed in baskets or cases, according to the country to which they are destined to be despatched. To Russia the Clicquot Champagne is sent in cases containing sixty bottles, while the cases for China contain as many as double that number. [Illustration: REMAINS OF THE COMMANDERIE AT REIMS.] The ample cellarage which the house possesses has enabled M. Werlé to make many experiments which firms with less space at their command would find it difficult to carry out on the same satisfactory scale. Such, for instance, is the system of racks in which the bottles repose while the wine undergoes its diurnal shaking. Instead of these racks being, as is commonly the case, at almost upright angles, they are perfectly horizontal, which, in M. Werlé's opinion, offers a material advantage, inasmuch as the bottles are all in readiness for disgorging at the same time, instead of the lower ones being ready before those above, as is the case when the ancient system is followed, owing to the uppermost bottles getting less shaken than the others. After performing the round of the celliers we descend into the _caves_, a complete labyrinth of gloomy underground corridors excavated in the bed of chalk which underlies the city, and roofed and walled with solid masonry, more or less blackened by age. In one of these cellars we catch sight of rows of workpeople engaged in the operation of dosing, corking, securing, and shaking the bottles of wine which have just left the hands of the _dégorgeur_ by the dim light of half-a-dozen tallow-candles. The latest invention for liqueuring the wine is being employed. Formerly, to prevent the carbonic acid gas escaping from the bottles while the process of liqueuring was going on, it was necessary to press a gutta-percha ball connected with the machine, in order to force the escaping gas back. The new machine, however, renders this unnecessary, the gas, by its own power and composition, forcing itself back into the wine. In the adjoining cellar of St. Charles are stacks of bottles awaiting the manipulation of the _dégorgeur_; while in that of St. Ferdinand men are engaged in examining other bottles before lighted candles, to make certain that the sediment is thoroughly dislodged, and the wine perfectly clear before the disgorgement is effected. Here, too, the corking, wiring, and stringing of the newly-disgorged wine are going on. Another flight of steps leads to the second tier of cellars, where the moisture trickles down the dank dingy walls, and save the dim light thrown out by the candles we carried, and by some other far-off flickering taper, stuck in a cleft stick, to direct the workmen, who with dexterous turns of their wrists, give a twist to the bottles, all is darkness. On every side bottles are reposing in various attitudes, the majority in huge square piles on their sides, others in racks slightly tilted; others, again, almost standing on their heads, while some, which through overinflation have come to grief, litter the floor and crunch beneath our feet. Tablets are hung against each stack of wine indicating its age, and from time to time a bottle is held up before the light to show us how the sediment commences to form, or to explain how it eventually works its way down the neck of the bottle, and finally settles on the cork. Suddenly we are startled by a loud report, resembling a pistol-shot, which reverberates through the vaulted chamber, as a bottle close at hand explodes, dashing out its heavy bottom as neatly as though it had been cut by a diamond, and dislocating the necks and pounding-in the sides of its immediate neighbours. The wine trickles down, and eventually finds its way along the sloping sides of the slippery floor to the narrow gutter in the centre. [Illustration: MADAME VEUVE CLICQUOT AT EIGHTY YEARS OF AGE (From the painting by Léon Coignet).] Ventilating shafts pass from one tier of cellars to the other, enabling the temperature in a certain measure to be regulated, and thereby obviate an excess of breakage. M. Werlé estimates that the loss in this respect during the first eighteen months of a cuvée amounts to 7 per cent, but subsequently is considerably less. In 1862 one Champagne manufacturer lost as much as 45 per cent of his wine by breakages. The Clicquot cuvée is made in the cave of St. William, where 120 hogsheads of wine are hauled up by means of a crane, and discharged into the vat daily as long as the operation lasts. The tirage, or bottling of the wine, ordinarily commences in the middle of May, and occupies fully a month. M. Werlé's private residence is close to the establishment in the Rue du Temple, and here he has collected a small gallery of high-class modern paintings by French and other artists, including Meissonier's 'Card-players,' Delaroche's 'Beatrice Cenci on her way to Execution,' Fleury's 'Charles V. picking up the brush of Titian,' various works by the brothers Scheffer, Knaus's highly-characteristic _genre_ picture, 'His Highness on a Journey,' and several fine portraits, among which is one of Madame Clicquot, painted by Léon Coignet, when she was eighty years of age, and another of M. Werlé by the same artist, regarded as a _chef-d'[oe]uvre_. Before her father's death Madame Clicquot used to reside in the Rue de Marc, some short distance from the cellars in which her whole existence centred, in a handsome Renaissance house, said to have had some connection with the row of palaces that at one time lined the neighbouring and then fashionable Rue du Tambour. This, however, is extremely doubtful. A number of interesting and well-preserved bas-reliefs decorate one of the façades of the house looking on to the court. The figures are of the period of François Premier and his son Henri II., who inaugurated his reign with a comforting edict for the Protestants, ordaining that blasphemers were to have their tongues pierced with red-hot irons, and heretics to be burnt alive, and who had the ill-luck to lose his eye and life through a lance-thrust of the Comte de Montgomerie, captain of his Scotch guards, whilst jousting with him at a tournament held in honour of the marriage of his daughter Isabelle with the gloomy widower of Queen Mary of England, of sanguinary fame. [Illustration] [Illustration] [Illustration] The first of these bas-reliefs represents two soldiers of the Swiss guard, the next a Turk and Slav tilting at each other, and then comes a scroll entwined round a thistle, and inscribed with this enigmatical motto: 'Giane le sur ou rien.' In the third bas-relief a couple of passionate Italians are winding up a gambling dispute with a hand-to-hand combat, in the course of which table and cards have got canted over; the fourth presents us with two French knights, armed _cap-à-pie_, engaged in a tourney; while in the fifth and last a couple of German lansquenets essay their gladiatorial skill with their long and dangerous weapons. Several years back a tablet was discovered in one of the cellars of the house, inscribed 'Ci-gist vénérable religieux maistre Pierre Derclé, docteur en théologie, jadis prieur de céans. Priez Dieu pour luy. 1486,' which would almost indicate that the house had originally a religious character, although the warlike spirit of the bas-reliefs decorating it renders any such supposition with regard to the existing building untenable. We should mention that the spaces above the _porte cochère_, and the window by its side, are occupied by four medallions, which present that curious mingling of classic and contemporary styles for which the epoch of the Renaissance was remarkable. [Illustration: MEDALLIONS FROM MADAME CLICQUOT'S HOUSE.] The Messrs. Werlé own numerous acres of vineyards, comprising the very finest situations in the well-known districts of Verzenay, Bouzy, Le Mesnil, and Oger, at all of which places they have vendangeoirs or pressing-houses of their own. Their establishment at Verzenay contains seven presses, that at Bouzy eight, at Le Mesnil six, and at Oger two, in addition to which grapes are pressed under their own supervision at Ay, Avize, and Cramant, in vendangeoirs belonging to their friends. Since the death of Madame Clicquot the legal style of the firm has been 'Werlé & Co., successors to Veuve Clicquot-Ponsardin,' the mark, of which M. Werlé and his son are the sole proprietors, still remaining 'Veuve Clicquot-Ponsardin,' while the corks of the bottles are branded with the words 'V. Clicquot-P. Werlé,' encircling the figure of a comet. The style of the wine--light, delicate, elegant, and fragrant--is familiar to all connoisseurs of Champagne. What, however, is not equally well known is that within the last few years the firm, in obedience to the prevailing taste, have introduced a perfectly dry wine of corresponding quality to the richer wine which made the fortune of the house, and gave enduring fame to the Clicquot brand. [Illustration] [Illustration: THE PLACE ROYALE AT REIMS.] VII. /Reims and its Champagne Establishments/ _(continued)_. The house of Louis Roederer founded by a plodding German named Schreider--The central and other establishments of the firm--Ancient house in the Rue des Elus--The gloomy-looking Rue des Deux Anges and prison-like aspect of its houses--Inside their courts the scene changes--Handsome Renaissance house and garden, a former abode of the canons of the Cathedral--The Place Royale--The Hôtel des Fermes and the statue of the 'wise, virtuous, and magnanimous Louis XV.'--Birthplace of Colbert in the Rue de Cérès--Quaint Adam and Eve gateway in the Rue de l'Arbalète--Heidsieck & Co.'s central establishment in the Rue de Sedan--Their famous 'Monopole' brand--The firm founded in the last century--Their extensive cellars inside and outside Reims--The matured wines shipped by them--The Boulevard du Temple--M. Ernest Irroy's cellars, vineyards, and vendangeoirs--Recognition by the Reims Agricultural Association of his plantations of vines--His wines and their popularity at the best London clubs--Various Champagne firms located in this quarter of Reims--The Rue du Tambour and the famous House of the Musicians--The Counts de la Marck assumed former occupants of the latter--The Brotherhood of Minstrels of Reims--Périnet & Fils' establishment in the Rue St. Hilaire--Their cellars of three stories in solid masonry--Their soft, light, and delicate wines--A rare still Verzenay--The firm's high-class Extra Sec. [Illustration] The house of Louis Roederer, originally founded by a plodding German named Schreider, was content to pursue the sleepy tenor of its way for some years--until indeed it suddenly felt prompted to lay siege to the Muscovite connection of La Veuve Clicquot-Ponsardin, and secure a market for its wine at Moscow and St. Petersburg. It next opened up the United States, and finally introduced its brand into England. The house possesses cellars in various parts of Reims, and has its offices in one of the oldest quarters of the city--namely, the Rue des Elus, or ancient Rue des Juifs, where the old synagogue formerly stood, and the records of which date as far back as 1103. At the corner of this street, and abutting on the Place des Marchés, is a curious old house, the overhanging upper stories of which are supported by huge massive carved brackets, decorated with figures more or less quaint in design. M. Louis Roederer's offices in the Rue des Elus are at the farther end of a courtyard, beyond which is found a second court, where carts laden with cases of Champagne seem to indicate that some portion of the shipping business of the house is here carried on. Several requests made by us for permission to visit M. Louis Roederer's establishments having been refused, it is only of their external appearance that we are competent to speak. One of them, in the Boulevard du Temple, is distinguished by a rather imposing façade, and has a carved head of Bacchus surmounting its _porte-cochère_; while the principal establishment, a picturesque range of buildings of considerable extent, is situated in the neighbouring Rue de la Justice. [Illustration: OLD HOUSE AT THE CORNER OF THE RUE DES ÉLUS AND THE PLACE DES MARCHÉS, REIMS.] Leading from the Rue des Elus into the Rue de Vesle is a gloomy-looking ancient street known as the Rue des Deux Anges, all the houses of which have their windows secured by iron gratings, and their massive doors thickly studded with huge nails. These prison-like façades, which in all probability refer to the epoch of the religious wars, succeed each other in lugubrious monotony along either side of the way; but gain admittance to their inner courts, and quite a different scene presents itself. In one notable instance, looking on to a pleasant little flower-garden, we found a small but charming Renaissance house, with its windows ornamented with elaborate mouldings, and surmounted by graceful sculptured heads, while at one corner there rose up a tower with a sun-dial displayed on its front. In this and in an adjoining house the canons of the cathedral were accustomed to reside in the days when something like four-fifths of the city were the property of the Church. [Illustration: RENAISSANCE HOUSE IN THE RUE DES DEUX ANGES, REIMS.] Proceeding along the Rue de Vesle and the neighbouring Rue des Tapissiers, we find ourselves once more in the Place Royale, the principal side of which is occupied by the once notable Hôtel des Fermes, where, in the days of the _ancien régime_, the farmers-general of the Champagne were accustomed to receive the revenues of the province. A bronze statue rises in the centre of the Place, which from its Roman costume and martial bearing might be taken for some hero of antiquity, did not the inscription on the pedestal apprise us that it is intended for the 'wise, virtuous, and magnanimous Louis XV.,' a misuse of terms which has caused a Transatlantic Republican to characterise the monument as a brazen lie. Leading out of the Place Royale is the Rue de Cérès, in which there is a modernised sixteenth-century house claiming to be the birthplace, on the 29th August 1619, of Jean Baptiste Colbert, son of a Reims wool-merchant, and the famous minister who did so much to consolidate the finances of the State which the royal voluptuary, masquerading at Reims in Roman garb, afterwards made such dreadful havoc of. [Illustration: HEADS SURMOUNTING THE PRINCIPAL WINDOWS OF THE RENAISSANCE HOUSE IN THE RUE DES DEUX ANGES.] [Illustration: JEAN BAPTISTE COLBERT (From a portrait of the time).] We again cross the Place des Marchés, at the farther end of which, on the left-hand side, is the Rue de l'Arbalète, notable for a curious Renaissance gateway, with its pediment supported by two life-size figures, which the Rémois, for no very sufficient reason, have popularly christened Adam and Eve. Beyond the Place des Marchés and the Place de l'Hôtel de Ville, and at no great distance from the Clicquot-Werlé establishment, is the narrow winding Rue de Sedan, where the old-established firm of Heidsieck & Co., which has secured a high-class reputation in both eastern and western hemispheres for its famous Monopole and Dry Monopole brands, has its central offices. The original firm dates back to 1785, when France was struggling with those financial difficulties that a few years later culminated in that great social upheaving which kept Europe in a state of turmoil for more than a quarter of a century. Among the archives of the firm is a patent, bearing the signature of the Minister of the Prussian Royal Household, appointing Heidsieck & Co. purveyors of Champagne to Frederick William III. The Champagne-drinking Hohenzollern _par excellence_, however, was the son and successor of the preceding, who, from habitual over-indulgence in the exhilarating sparkling beverage during the last few years of his reign, acquired the _sobriquet_ of King Clicquot. [Illustration: ADAM AND EVE GATEWAY, RUE DE L'ARBALÈTE, REIMS.] On passing through the large _porte-cochère_ giving entrance to Messrs. Heidsieck's principal establishment, one finds oneself in a small courtyard, with the surrounding buildings overgrown with ivy and venerable vines. On the left is a dwelling-house enriched with elaborate mouldings and cornices, and at the farther end of the court is the entrance to the cellars, surmounted by a sun-dial bearing the date 1829. The latter, however, is no criterion of the age of the buildings themselves, as these were occupied by the firm at its foundation, towards the close of the last century. We are first conducted into an antiquated-looking low cellier, the roof of which is sustained with rude timber supports, and here bottles of wine are being labelled and packed, although this is but a mere adjunct to the adjacent spacious packing-room, provided with its loading platform and communicating directly with the public road. At the time of our visit this hall was gaily decorated with flags and inscriptions, the day before having been the fête of St. Jean, when the firm entertain the people in their employ with a banquet and a ball, at which the choicest wine of the house liberally flows. From the packing-room we descend into the cellars, which, like all the more ancient vaults in Reims, have been constructed on no regular plan. Here we thread our way between piles after piles of bottles, many of which, having passed through the hands of the disgorger, are awaiting their customary adornment. The lower tier of cellars is mostly stored with _vin sur pointe_, and bottles with their necks downward are encountered in endless monotony along a score or more of long galleries. The only variation in our lengthened promenade is when we come upon some solitary workman engaged in his monotonous task of shaking his 30,000 or 40,000 bottles per diem. The disgorging at Messrs. Heidsieck's takes place, in accordance with the good old rule, in the cellars underground, where we noticed large stocks of wine three and five years old, the former in the first stage of _sur pointe_, and the latter awaiting shipment. It is a specialty of the house to ship only matured wine, which is necessarily of a higher character than the ordinary youthful growths, for a few years have a wonderful influence in developing the finer qualities of Champagne. At the time of our visit, in the spring of 1877, when the English market was being glutted with the crude full-bodied wine of 1874, Messrs. Heidsieck were continuing to ship wines of 1870 and 1872, beautifully rounded by keeping, and of fine flavour and great delicacy of perfume. Of these thoroughly matured wines the firm had fully a year's consumption on hand. Messrs. Heidsieck & Co. have a handsome modern establishment in the Rue Coquebert--a comparatively new quarter of the city, where Champagne establishments are the rule--the courtyard of which, alive with workmen at the time of our visit, is broad and spacious, while the surrounding buildings are light and airy, and the cellars lofty, regular, and well ventilated. In a large cellier here, where the tuns are ranged side by side between the rows of iron columns supporting the roof, the firm make their cuvée. Here, too, the bottling of their wine takes place, and considerable stocks of high-class reserve wines and more youthful growths are stored ready for removal when required by the central establishment. The bulk of Messrs. Heidsieck's reserve wines, however, repose in the outskirts of Reims, near the Porte Dieu-Lumière, in one of the numerous abandoned chalk quarries, which of late years the Champagne manufacturers have discovered are capable of being transformed into admirable cellars. In addition to shipping a rich and a dry variety of the Monopole brand, of which they are sole proprietors, Messrs. Heidsieck export to this country a rich and a dry Grand Vin Royal. It is, however, to their famous Monopole wine, and especially to the dry variety, which must necessarily comprise the finest growths, that the firm owe their principal celebrity. Few large manufacturing towns like Reims--which is one of the most important of those engaged in the woollen manufacture in France--can boast of such fine promenades and such handsome boulevards as the capital of the Champagne. As the ancient fortifications of the city were from time to time razed, their site was levelled and generally planted with trees, so that the older quarters of Reims are almost encircled by broad and handsome thoroughfares, separating the city, as it were, from its outlying suburbs. In or close to the broad Boulevard du Temple, which takes its name from its proximity to the site of the ancient Commanderie of the Templars, various Champagne manufacturers, including M. Louis Roederer, M. Ernest Irroy, and M. Charles Heidsieck, have their establishments; while but a few paces off, in the neighbouring Rue Coquebert, are the large and handsome premises of Messrs. Krug & Co. [Illustration: M. ERNEST IRROY'S ESTABLISHMENT AT REIMS.] The offices of M. Ernest Irroy, who is known in Reims not merely as a large Champagne grower and shipper, but also as a distinguished amateur of the fine arts, taking a leading part in originating local exhibitions and the like, are attached to his private residence, a handsome mansion flanked by a large and charming garden in the Boulevard du Temple. The laying out of this sylvan oasis is due to M. Varé, the head gardener of the city of Paris, who contributed so largely to the picturesque embellishment of the Bois de Boulogne. M. Irroy's establishment, which comprises a considerable range of buildings grouped around two courtyards, is immediately adjacent, although its principal entrance is in the Rue de la Justice. The vast celliers, covering an area of upwards of 3000 square yards, and either stocked with wine in cask or used for packing and similar purposes, afford the requisite space for carrying on a most extensive business. The cellars beneath comprise three stories, two of which are solidly roofed and lined with masonry, while the lowermost one is excavated in the chalk. They are admirably constructed on a symmetrical plan, and their total surface is very little short of 7000 square yards. Spite of the great depth to which these cellars descend, they are perfectly dry, the ventilation is good, and their temperature moreover is remarkably cool, one result of which is that M. Irroy's loss from breakage never exceeds four per cent per annum. M. Irroy holds a high position as a vineyard proprietor in the Champagne, his vines covering an area of nearly ninety acres. At Mareuil and Avenay he owns some twenty-five acres, at Verzenay and Verzy about fifteen, and at Ambonnay and Bouzy close upon fifty acres. His father and his uncle, whose properties he inherited or purchased, commenced some thirty years ago to plant vines on certain slopes of Bouzy possessing a southern aspect, and he has followed their example with such success both at Bouzy and Ambonnay, that the Reims Agricultural Association in 1873 conferred upon him a silver-gilt medal for his plantations of vines, and in 1880 presented him with a _coupe d'honneur_. M. Irroy owns vendangeoirs at Verzenay, Avenay, and Ambonnay; and at Bouzy, where his largest vineyards are, he has built some excellent cottages for his labourers. He has also constructed a substantial bridge over the ravine which, formed by winter torrents from the hills, intersects the principal vineyard slopes of Bouzy. M. Ernest Irroy's wines, prepared with scrupulous care and rare intelligence, have been known in England for some years past, and are steadily increasing in popularity. They are emphatically connoisseurs' wines. The best West-end clubs, such as White's, Arthur's, the old Carlton, and the like, lay down the cuvées of this house in good years as they lay down their vintage ports and finer clarets, and drink them, not in a crude state, but when they are in perfection--that is, in five to ten years' time. M. Irroy exports to the British colonies and to the United States the same fine wines which he ships to England. Several well-known Champagne firms have their establishments in this quarter of Reims. In addition to those already mentioned, we may instance G. H. Mumm & Co., who are located in the Rue Andrieux, only a short distance from the grand triumphal arch known as the Gate of Mars, by far the most important Roman remain of which the Champagne can boast. Within a stone's throw of this arch there formerly stood the ancient château of the Archbishops of Reims, demolished close upon three centuries ago. In the Rue de Mars, a winding ill-paved thoroughfare leading from the Gate of Mars to the Place de l'Hôtel de Ville, Jules Mumm & Co., an offshoot from the once famous firm of P. A. Mumm & Co., are installed; while in a massive and somewhat pretentious-looking house, dating back to the time of Louis Quatorze, in a corner of the Place de l'Hôtel de Ville, Ruinart Père et Fils, who claim to rank as the oldest existing Champagne establishment, have their offices. The late Vicomte de Brimont, the recent head of the firm, was a collateral descendant of the Dom Ruinart, whose remains repose nigh to those of the illustrious Dom Perignon in the abbey church of Hautvillers. From the Place de l'Hôtel de Ville we proceed through the narrow Rue du Tambour, originally a Roman thoroughfare, and during the Middle Ages the locality where the nobility of Reims principally had their abodes. Half-way up this street stands the famous House of the Musicians, one of the most interesting architectural relics of which the capital of the Champagne can boast. It evidently dates from the early part of the fourteenth century, but by whom it was erected is unknown. Some ascribe it to the Knights Templars, others to the Counts of Champagne, while others suppose it to have been the residence of the famous Counts de la Marck, who in later times diverged into three separate branches, the first furnishing Dukes of Cleves and Jülich to Germany, and Dukes of Nevers and Counts of Eu to France; while the second became Dukes of Bouillon and Princes of Sedan, titles which passed to the Turennes when Henri de la Tour d'Auvergne, Vicomte de Turenne, married the surviving heiress of the house. The third branch comprised the Barons of Lumain, allied to the Hohenzollerns. Their most famous member slew Louis de Bourbon, Archbishop of Liège, and flung his body into the Meuse; and subsequently became celebrated as the Wild Boar of the Ardennes, of whom all readers of _Quentin Durward_ will retain a lively recollection. [Illustration: THE HOUSE OF THE MUSICIANS IN THE RUE DU TAMBOUR, REIMS.] To return, however, to the House of the Musicians. A probable conjecture ascribes the origin of the quaint mediæval structure to the Brotherhood of Minstrels of Reims, who in the thirteenth century enjoyed a considerable reputation, not merely in the Champagne, but throughout the North of France. The house takes its present name from five seated statues of musicians, larger than life-size, occupying the Gothic niches between the first-floor windows, and resting upon brackets ornamented with grotesque heads. It is thought that the partially-damaged figure on the left-hand side was originally playing a drum and a species of clarionet. The next one evidently has the remnants of a harp in his raised hands. The third or central figure is supposed merely to have held a hawk upon his wrist; whilst the fourth seeks to extract harmony from a dilapidated bagpipe; and the fifth, with crossed legs, strums complacently away upon the fiddle. The ground-floor of the quaint old tenement is to-day an oil and colour shop, the front of which is covered with chequers in all the tints of the rainbow. Leading from the Rue du Tambour is the Rue de la Belle Image, thus named from a handsome statuette of the Virgin, which formerly decorated a corner niche; and beyond is the Rue St. Hilaire, where Messrs. Barnett et Fils, trading under the designation of Périnet et Fils, and the only English house engaged in the manufacture of Champagne, have an establishment which is certainly as perfect as any to be found in Reims. Above-ground are several large store-rooms, where vintage-casks and the various utensils common to a Champagne establishment are kept; and a capacious cellier, upwards of one hundred and fifty feet in length, with its roof resting on massive timber supports. Here new wine is stored preparatory to being blended and bottled; and in the huge tun, holding nearly three thousand gallons, standing at the further end, the firm make their cuvée; while adjacent is a room where stocks of corks and labels, metal foil, and the like are kept. [Illustration: MESSRS. PÉRINET ET FILS' ESTABLISHMENT IN THE RUE ST. HILAIRE, REIMS.] Underneath this building there are three stories of cellars--an exceedingly rare thing anywhere in the Champagne--all constructed in solid masonry on a uniform plan, each story comprising two wide galleries, running parallel with each other and connected by means of transverse passages. Spite of the great depth to which these cellars descend, they are perfectly dry; the ventilation, too, is excellent; and their different temperatures render them especially suitable for the storage of Champagne, the temperature of the lowest cellar being 6° Centigrade (43° Fahrenheit), or one degree Centigrade below the cellar immediately above, which in its turn is two degrees below the uppermost of all. The advantage of this is that, when the wine develops an excess of effervescence, any undue proportion of breakages can be checked by removing the bottles to a lower cellar, and consequently into a lower temperature. The first cellars we enter are closely stacked with wine in bottle, which is gradually clearing itself by the formation of a deposit; while in an adjoining cellar on the same level the operations of disgorging, liqueuring, and corking are going on. At the end of this gallery is a spacious compartment, where a large stock of _pure Champagne_ cognac of grand vintages is stored for cask and liqueur use. In the cellars immediately beneath, bottles of wine repose in solid stacks ready for the _dégorgeur_; while others rest in racks, in order that they may undergo their daily shaking. In the lowest cellars reserved wine in cask is stored, as it best retains its natural freshness and purity in a very cool place. All air is carefully excluded from the casks; any ullage is immediately replaced; and, as evaporation is continually going on, the casks are examined every fortnight, when any deficiency is at once replenished. At Messrs. Périnet et Fils', as at all the first-class establishments, the _vin brut_ is a _mélange_ comprising the produce of some of the best vineyards, and has every possible attention paid to it during its progressive stages of development. From the second tier of cellars at Messrs. Périnet et Fils' a gallery extends, under the Rue St. Hilaire, to some extensive vaults excavated beneath an adjacent building, in which the Reims Military Club is installed. These vaults, arranged in two separate stories, are eight in number, and in them we found a quarter of a million bottles of _vin brut_, reposing either in solid stacks or _sur pointe_, the latter going through their daily shaking in order to fit them for the operation of _dégorgement_. On the whole the cellars of Périnet et Fils, including the six long galleries already described, suffice for the storage of a million bottles of Champagne. [Illustration: THE CELLIER AND CELLARS OF MESSRS. PÉRINET ET FILS.] Before leaving the establishment Champagnes of different years were shown to us, all of them soft, light, and delicate, and with that fine flavour and full perfume which the best growths of the Marne alone exhibit. Among several curiosities submitted to us was a still Verzenay of the year 1857, one of the most delicate wines it was ever our fortune to taste. Light in body, rich in colour, of a singularly novel and refined flavour, and with a magnificent yet indefinable bouquet, the wine was in every respect perfect. Not only was the year of the vintage a grand one, but the wine must have been made with the greatest possible care, and from the most perfect grapes, for so delicate a growth to have retained its flavour in such perfection, and preserved its brilliant ruby colour for such a length of time. From the samples shown to us of Périnet et Fils' Champagne, we were prepared to find that at some recent tastings in London, the particulars of which have been made public, their Extra Sec took the first place at each of the three severe competitions to which it was subjected. [Illustration: GROTTO BENEATH THE OLD FORTIFICATIONS OF REIMS.] VIII. /Reims and its Champagne Establishments/ _(continued)_. La Prison de Bonne Semaine--Mary Queen of Scots at Reims--Messrs. Pommery & Greno's offices--A fine collection of faïence--The Rue des Anglais a former refuge of English Catholics--Remains of the old University of Reims--Ancient tower and grotto--The handsome castellated Pommery establishment--The spacious cellier and huge carved cuvée tuns--The descent to the cellars--Their great extent--These lofty subterranean chambers originally quarries, and subsequently places of refuge of the early Christians and the Protestants--Madame Pommery's splendid cuvées of 1868 and 1874--Messrs. de St. Marceaux & Co.'s new establishment in the Avenue de Sillery--Its garden-court and circular shaft--Animated scene in the large packing hall--Lowering bottled wine to the cellars--Great depth and extent of these cellars--Messrs. de St. Marceaux & Co.'s various wines--The establishment of Veuve Morelle & Co., successors to Max Sutaine--The latter's 'Essai sur le Vin de Champagne'--The Sutaine family formerly of some note at Reims--Morelle & Co.'s cellars well adapted to the development of sparkling wines--The various brands of the house--The Porte Dieu-Lumière. [Illustration: HEAD OVERSEER AT POMMERY AND GRENO'S.] Nigh the cathedral of Reims, and in the rear of the archiepiscopal palace, there runs a short narrow street known as the Rue Vauthier le Noir, and frequently mentioned in old works relating to the present capital of the Champagne. The discovery of various pillars and statues, together with a handsome Gallo-Roman altar, whilst digging some foundations in 1837, points to the fact that a Pagan temple formerly occupied the site. The street is supposed to have taken its name, however, from some celebrated gaoler, for in mediæval times here stood 'la prison de bonne semaine.' On the site of this prison a château was subsequently built, which tradition has erroneously fixed upon as the residence of the beautiful and luckless Mary Queen of Scots, in the days when her uncle, Cardinal Charles de Lorraine, was Lord Archbishop of Reims. Temple, prison, and palace have alike disappeared, and where they stood there now rises midway between court and garden a handsome mansion, the residence of Madame Pommery, head of the well-known firm of Pommery & Greno. To the left of the courtyard, which is entered through a monumental gateway, are some old buildings, let into the walls of which are a couple of sculptured escutcheons, the one comprising the arms of France, and the other those of the Cardinal de Lorraine. On the right-hand side of the courtyard are the Pommery offices, together with the manager's sanctum, replete with artistic curiosities, the walls being completely covered with remarkable specimens of faïence, including Rouen, Gien, Palissy, Delft, and majolica, collected in the majority of instances by Madame Pommery in the villages around Reims. Here we were received by M. Vasnier, who at once volunteered to accompany us to the cellars of the firm outside the city. Messrs. Pommery & Greno originally carried on business in the Rue Vauthier le Noir, where there are extensive cellars, but their rapidly-increasing connection long since compelled them to emigrate beyond the walls of Reims. [Illustration: OLD COATS OF ARMS IN THE COURTYARD OF MADAME POMMERY'S RESIDENCE.] In close proximity to the Rue Vauthier le Noir is the Rue des Anglais, so named from the English Catholic refugees, who, flying from the persecutions of our so-called Good Queen Bess, here took up their abode and established a college and a seminary. They rapidly acquired great influence in Reims, and one of their number, William Gifford, was even elected archbishop. At the end of this street, nigh to Madame Pommery's, there stands an old house erected late in the fifteenth century, with a corner tower and rather handsome Renaissance window, which formerly belonged to some of the clergy of the cathedral, and subsequently became the 'Bureau Général de la Loterie de France,' an institution abolished by the National Convention in 1793. [Illustration: OLD HOUSE IN THE RUE DES ANGLAIS, REIMS.] The Rue des Anglais conducts into the Rue de l'Université, where a few remnants of the old University, founded by Cardinal Charles de Lorraine (1538-74), formerly attracted attention, notably a conical-capped corner tower, the sculptured ornaments at the base of which had crumbled into dust beneath the corroding tooth of Time.[423] From the Rue de l'Université our way lies along the Boulevard du Temple to the Porte Gerbert, about a mile beyond which there rises up the curious castellated structure in which the Pommery establishment is installed, with its tall towers commanding a view of the whole of Reims and its environs. As we drive up the Avenue Gerbert we espy on the right an isolated crumbling tower, a remnant of the ancient fortifications of Reims,[424] while close at hand, and under the old city-walls, is a grotto, to which an ancient origin is likewise ascribed. In another minute we reach the open iron gates of Messrs. Pommery's establishment, flanked by a picturesque porter's lodge; and proceeding up a broad drive, we alight under a Gothic portico at the entrance to the spacious and lofty cellier. Iron girders support the roof of this vast hall, 180 feet in length and 90 feet in width, without the aid of a single column. At one end is the office and tasting-room, provided with a telegraphic apparatus and telephone, by means of which communication is carried on with the Reims bureaux. Stacked up on every side of the cellier, and often in eight tiers when empty, are rows upon rows of casks, 6000 of which contain wine of the costly vintage of 1880 sufficient for a million and a half bottles of Champagne. The temperature of this hall is carefully regulated; the windows are high up near the roof, and the sun's rays are rigidly excluded, so that a pleasant coolness pervades the building. On the left-hand side stand two huge tuns, with the monogram P. and G., surmounting the arms of Reims, carved on their heads. These are capable of containing 5500 gallons of wine, and in them the firm make their cuvée. A platform, access to which is gained by a staircase in a side aisle, runs round one of these _foudres_; and when the wine, which has been hoisted up in casks and poured through a metal trough into the _foudre_, is being blended, boys stand on this platform and, by means of a handle protruding above the cask, work the paddle-wheels placed inside, thereby securing the complete amalgamation of the wine. Adjoining are the chains and lifts worked by steam, by means of which wine is raised and lowered from and to the cellars beneath, one lift raising or lowering eight casks, whether full or empty, in the space of a minute. [Illustration: THE POMMERY AND GRENO ESTABLISHMENT IN THE OUTSKIRTS OF REIMS.] At the farther end of the hall a Gothic door, decorated with ornamental ironwork, leads to the long broad flight of steps, 116 in number, and nearly twelve feet in width, conducting to the suite of lofty subterranean chambers, where bottles of _vin brut_ repose in their hundreds of thousands in slanting racks or solid piles, passing leisurely through those stages of development necessary to fit them for the _dégorgeur_. Altogether there are 130 large shafts, 90 feet in depth and 60 feet square at their base, which were originally quarries, and are now connected by spacious galleries. This side of Reims abounds with similar chalk quarries, commonly believed to have served as places of refuge for the Protestants at the time of the League and after the revocation of the Edict of Nantes; and it is even conjectured that the early Christians--the followers of St. Sixtus and St. Sinicus--here hid themselves from their persecutors. Since the cellars within the city have no longer sufficed for the storage of the immense stocks required through the development of the Champagne trade, these vast subterranean galleries have been successfully utilised by various firms. Messrs. Pommery, after filling up the chambers above the water level, proceeded to excavate the connecting tunnels, shore up the cracking arches, and repair the flaws in the chalk with masonry, finally converting these abandoned quarries into magnificent cellars for the storage of Champagne. No less than 60,000_l._ was spent upon them and the castellated structure aboveground. Several millions of bottles of Champagne can be stored in these capacious vaults, the area of which is nearly 450,000 square feet. [Illustration: INTERIOR OF MESSRS. POMMERY AND GRENO'S CELLIER.] Madame Pommery made a great mark with her splendid cuvées of 1868 and 1874, the result being that her brand has become widely popular, and that it invariably realises exceptionally high prices. On leaving Messrs. Pommery's we retrace our steps down the Avenue Gerbert, bordered on either side with rows of plane-trees, until we reach the treeless Avenue de Sillery, where Messrs. de St. Marceaux & Co.'s new and capacious establishment is installed. Simple and without pretension, the establishment, which covers an area of upwards of 18,000 feet, is distinguished for its perfect appropriateness to the industry for which it was designed. The principal block of building is flanked by two advanced wings enclosing a garden-court, set off with flowers and shrubs, and from the centre of which rises a circular shaft, covered in with glass, and admitting light and air to the cellars below. In the building to the left the wine is received on its arrival from the vineyard, and here are ranged large quantities of casks replete with the choice crus of Verzenay, Ay, Cramant, and Bouzy, while thousands of bottles ready for labelling are stacked in massive piles at the end of the packing-hall in the corresponding wing of the establishment. Here, too, a tribe of workpeople are arraying the bottles with gold and silver headdresses, and robing them in pink paper, while others are filling, securing, marking, and addressing the cases or baskets destined to Hong-Kong, San Francisco, Yokohama, Bombay, London, New York, St. Petersburg, Berlin, or Paris. [Illustration: THE PACKING-HALL OF MESSRS. DE ST. MARCEAUX AT REIMS.] The wine in cask, stored in the left-hand wing, after having been duly blended in an enormous vat, is drawn off into bottles, which are then lowered down a shaft to the second tier of cellars by means of an endless chain, on to which the baskets of bottles are swiftly hooked. The workman engaged in this duty, in order to guard against his falling down the shaft, has a leather belt strapped round his waist, by means of which he is secured to an adjoining iron column. We descended into the lower cellars down a flight of ninety-three broad steps--a depth equal to the height of an ordinary six-storied house--and found no less than four-and-twenty galleries excavated in the chalk, devoid of masonry supports, and containing upwards of a million bottles of Champagne. These galleries vary in length, but are of uniform breadth, and allow either for a couple of racks with wine _sur pointe_, or stacks of bottles, in four row's on either side, with ample passage-room down the centre. The upper range of cellars comprises two large arched galleries of considerable breadth, one of which contains wine in wood and wine _sur pointe_, while the other is stocked with bottles of wine heads downward, ready to be delivered into the hands of the _dégorgeur_. MM. de St. Marceaux & Co. have the honour of supplying the King of the Belgians, the President of the French Republic, and several German potentates with an exceedingly delicate Champagne known as the Royal St. Marceaux. The same wine is popular in Russia and other parts of Europe, just as the Dry Royal of the firm is much esteemed in the United States. The brand of the house most appreciated in this country is its Carte d'Or, a very dry wine, the extra superior quality of the firm, which secured the first place at a recent Champagne competition in England. Some little distance beyond the remnants of the ancient fortifications of Reims, skirting the Butte de St. Nicaise, is the establishment of Veuve Morelle & Co., successors to Veuve Max Sutaine & Co. This house was founded in 1823 by the late M. Maxime Sutaine, who, like several other notabilities in the Reims wine trade, was as familiar with art and science as with the special industry to which he had devoted himself. An amateur painter of no mean skill, he showed himself thoroughly at home in the biographical and critical notices on artists and art in his native province which he produced. His name, however, is chiefly identified in literature with his _Essai sur le Vin de Champagne_.[425] This work may be regarded as the first attempt to collect the scattered materials relating to the history of Champagne wine, and to deal with them in a critical spirit. Though necessarily imperfect, its value is undoubtedly great, and it has been frequently quoted from in the present volume. The family of Sutaine long held an honourable position at Reims, the name of one of M. Max Sutaine's immediate ancestors, who filled the position of lieutenant of the city in 1765, appearing on the bronze slab at the base of the statue of Louis XV. in the Place Royale, erected during that year. [Illustration: THE CELLARS OF MAX SUTAINE AND CO. IN THE CHEMIN DE LA PROCESSION, REIMS.] The cellars of the firm of Veuve Morelle & Co., successors to Max Sutaine & Co., are very extensive; and while more than usually picturesque in appearance, are in every respect admirably adapted for the rearing and development of the delicate wines of the Champagne. These cellars, hewn out of the chalk, are of great depth. The firm has been careful to adhere to the good traditions of its predecessors in the composition of its cuvées, and at the same time to avoid those errors which experience and the resources of modern science have made manifest. Its rule is only to send out wines of a good cru, and never before they are thoroughly matured, thereby avoiding the shipment of young wines. The chief kinds bearing the brand of Max Sutaine & Co. are Vin Brut (of great years), Extra Dry, Creaming Sillery, and Bouzy for England, Sillery Sec for Russia, and Verzenay and Cabinet for Germany and Belgium. It should be mentioned that of late years the abandoned quarries, so numerous on this side of the city, have been largely utilised by the Reims Champagne manufacturers as cellars for the storage of their wines. Beyond the firms that have been already alluded to as possessing cellars in this direction, there remain to be enumerated Messrs. Kunkelmann & Co., Ruinart Père et Fils, the Goulets, Jules Champion, Théophile Roederer, &c. The cellars of several of the last named are immediately outside the Porte Dieu-Lumière, near which is a seventeenth-century house having let into its face a curious bas-relief, of evidently much earlier date, the subject of which has been a source of considerable perplexity to local antiquaries. A like cloud enshrouds the origin of the name of Dieu-Lumière, bestowed upon the fortified gate formerly standing here, and originally erected during the fourteenth century, when, the circle of the ramparts having been carried round the Bourg de St. Remi so as to unite it to the old city, the Porte St. Nicaise was walled up.[426] Like the other portals of Reims, it has no lack of historical associations. Its vaulted roof resounded with the trampling of barbed war-steeds when, on the 16th July 1429, Charles the Victorious swept beneath it into the city, with Joan of Arc by his side and the steel-clad chivalry of France at his back.[427] The year 1583 saw its keys handed to the Duc de Guise, and the green flag of the League, with its device 'Auspice Christo,' hoisted above it; and twenty-three years later, as Henri Quatre rode through it amidst shouts of welcome, the jesting remark, 'I had no idea I was so well beloved at Reims,' was the only attempt at revenge made by the easy-going Béarnais on the population who had so long flouted his authority. Rebuilt in 1620, it witnessed the triumphant return of Grandpré's cavalry and the Rémois militia, after their victory over Montal and his Spaniards at La Pompelle in 1657, and the successful assault of the renegade Saint Priest, whose Cossacks entered the walls at this point in 1814, and gave way to the most brutal excesses. Nor must it be forgotten that Marie Louise passed through this gate _en route_ for Paris, on which occasion its summit was crowned with elaborate allegorical devices supported by cupids weaving garlands of flowers; or that for several centuries the relics of St. Timotheus and his companions were annually carried through it on Whit-Monday by the clergy of Reims, escorted by a procession of pilgrims, to the scene of the martyrdom of these early Christians at La Pompelle. [Illustration: BAS-RELIEF NEAR THE PORTE DIEU-LUMIÈRE.] [Illustration] IX. /Epernay./ The connection of Epernay with the production of wine of remote date--The town repeatedly burnt and plundered--Hugh the Great carries off all the wine of the neighbourhood--Vineyards belonging to the Abbey of St. Martin in the eleventh, twelfth, and thirteenth centuries--Abbot Gilles orders the demolition of a wine-press which infringes the abbey's feudal rights--Bequests of vineyards in the fifteenth century--Francis I. bestows Epernay on Claude Duke of Guise in 1544--The Eschevins send a present of wine to their new seigneur--Wine levied for the king's camp at Rethel and the strongholds of the province by the Duc de Longueville--Epernay sacked and fired on the approach of Charles V.--The Charles-Fontaine vendangeoir at Avenay--Destruction of the immense pressoirs of the Abbey of St. Martin--The handsome Renaissance entrance to the church of Epernay--Plantation of the 'terre de siége' with vines in 1550--Money and wine levied on Epernay by Condé and the Duke of Guise--Henri Quatre lays siege to Epernay--Death of Maréchal Biron--Desperate battle amongst the vineyards--Triple talent of the 'bon Roy Henri' for drinking, fighting, and love-making--Verses addressed by him to his 'belle hôtesse' Anne du Puy--The Epernay Town Council make gifts of wine to various functionaries to secure their good-will--Presents of wine to Turenne at the coronation of Louis XIV.--Petition to Louvois to withdraw the Epernay garrison that the vintage may be gathered in--The Duke and Duchess of Orleans at Epernay--Louis XIV. partakes of the local vintage at the maison abbatiale on his way to the army of the Rhine--Increased reputation of the wine of Epernay at the end of the seventeenth century--Numerous offerings of it to the Marquis de Puisieux, Governor of the town--The Old Pretender presented at Epernay with twenty-four bottles of the best--Sparkling wine sent to the Marquis de Puisieux at Sillery, and also to his nephew--Further gifts to the Prince de Turenne--The vintage destroyed by frost in 1740--The Epernay slopes at this epoch said to produce the most delicious wine in Europe--Vines planted where houses had formerly stood--The development of the trade in sparkling wine--A 'tirage' of fifty thousand bottles in 1787--Arthur Young drinks Champagne at Epernay at forty sous the bottle--It is surmised that Louis XVI., on his return from Varennes, is inspired by Champagne at Epernay--Napoleon and his family enjoy the hospitality of Jean Remi Moët--King Jerome of Westphalia's true prophecy with regard to the Russians and Champagne--Disgraceful conduct of the Prussians and Russians at Epernay in 1814--The Mayor offers them the free run of his cellars--Charles X., Louis Philippe, and Napoleon III. accept the 'vin d'honneur' at Epernay--The town occupied by German troops during the war of 1870-1. [Illustration] If Reims be the titular capital of the Champagne wine-trade, Epernay can boast of containing the establishments of some of the most eminent firms engaged therein. Its connection with the production of the wines of Champagne is of the remotest. The vineyards stretching for miles around the ancient Sparnacum claim indeed an antiquity far exceeding that of any existing portion of the town itself, which, despite the remote date of its foundation, and the fact that it was a place of considerable importance as early as 445, presents a thoroughly modern aspect. Unlike Reims--so rich in the remains of antiquity--it possesses no mementoes of the days when its lord Eulogius gave it to St. Remi,[428] and he in turn bequeathed it to the Church. [Illustration] The reason is simple, for the history of Epernay may be briefly summed up in the words--fire, pestilence, and pillage. From the days when misfortune first overtook it, after the division of the Frankish monarchy on the death of Clovis, it has been burnt down on half a dozen occasions, repeatedly depopulated by the plague, and captured and sacked times out of number. The contending sovereigns of Austrasia and Neustria alternately obtained forcible possession of it, and the rival counts of Paris and Vermandois snatched it repeatedly from each other's hold, like hungry dogs contending for a bone; whilst the Normans, the Hungarians, the vassals of Charles of Lorraine, and the followers of Otho of Germany added their quota to the work of destruction during the long period of anarchy preceding the establishment of the Capetian race upon the throne of France. The founder of the said race, Hugh the Great, distinguished himself in 947 by plundering the town of Epernay, ravaging the surrounding country, and profiting by the fact that it was vintage-time to carry off all the wine of the neighbourhood.[429] Even during the epoch of comparative tranquillity which prevailed up to the English invasion, Epernay became from time to time the prey of robber knights like Thomas de Marlé and rebellious nobles like Count John of Soissons; and at the commencement of the thirteenth century Count Thibault of Champagne was fain to burn it, in order to prevent it from serving as a rallying-place for the lords who had risen against Queen Blanche and her infant son Louis IX. After the battle of Poitiers it was pillaged by the partisans of Charles the Bad of Navarre; Edward the Black Prince entered it twice as a conqueror; and John of Gaunt exacted a heavy tribute from it. In the struggles which followed the death of Henry V. of England it was again taken and re-taken, partially burnt and utterly ruined, remaining for three years absolutely depopulated after the unwelcome visit paid it by the Duke of Burgundy in 1432. Yet during all these ravages the vineyards clothing the slopes around the town were gradually developed, chiefly by the fostering care of the good fathers of the Abbey of St. Martin. The charter of foundation of this abbey, which was endowed in 1032, makes mention of vineyards amongst its possessions, and they are also spoken of in the confirmation of donations and privileges granted by Pope Eugenius III. in 1145. Count Henry of Champagne in 1179 gave the canons of the abbey the hospital of Epernay, with the fields and vineyards belonging to it; and twenty years later, Abbot Guy purchased from Abbot Noah, of the monastery of the Chapelle aux Planches, near Troyes, the fields, vineyards, house, barn, and garden adjoining the 'ruisseau du Cotheau' at Epernay for 110 livres. In 1203, Parchasius, a canon of Laon, left by will to the abbey the 'vigne du Clozet,' which is still celebrated for the excellence of its products, at Epernay; and in 1217, Abbot Theodoric gave the 'terres de la Croix Boson' at Mardeuil to sundry of the inhabitants of that village, on the condition of planting them with vines and paying a yearly rent of fourteen hogsheads of wine obtained therefrom as vinage. Tithes of wine at Oger, Cuis, Cramant, Monthelon, &c., and the vineyards of Genselin, Beaumont, and Montfelix also figure amongst the possessions of the abbey in the thirteenth century.[430] A certain proportion of the tithes of the 'fields, meadows, and vineyards' owned by the abbey at Epernay was assigned to the dependent priory in the faubourg of Igny-le-Jard by Abbot Richard de Cuys in