tent love of
mischief might be drawn out by proper encouragement, and we may find
reason not to condemn the French peasantry in general, as sharers in the
outrages which they probably abominated, but could not prevent.

[Footnote 1: In 1419, John Duke of Burgundy, and the Dauphin, against
whom he had taken part during the troubles of France, agreed to a
reconciliation. "An interview was fixed to take place on the bridge of
Montereau-sur-Yonne, where a total amnesty was to be concluded, to be
followed by an union of arms and interests. Every precaution was taken
by the duke for his safety; a barrier was erected on the bridge; he
placed his own guard at one end, and advancing with only ten attendants,
threw himself on his knees before the Dauphin. At this instant Tannegui
de Chastel, making the signal, leaped the barrier with some others, and
giving him the first blow, he was almost immediately despatched. Though
the Dauphin was in appearance only a passive spectator of this
assassination, there can be no doubt that he was privy to its
commission."--_Wraxall's Valois_.]

From Fossard to Sens, 21 miles: the country uninteresting as far as
Pont-sur-Yonne. Chapelle de Champigny affords a tolerably exact idea of
a Spanish village; each farm-house and its premises forming a square,
inclosed in blank walls, and opening into the street by folding gates,
with hardly a window to be seen. From Pont-sur-Yonne to Sens, the road
becomes more cheerful; and its fine old cathedral forms a good central
object in the valley, along which the Yonne is seen winding. The
principal inn at Sens being full for the night, we found neat and
comfortable accommodations, with great civility, at the Bouteille.
Whether there be any object worthy of notice in this cheerful little
city, besides its cathedral, I do not know; but the latter possesses
works of art which deserve an early and attentive visit. Nothing can be
more minutely beautiful than the small figures and ornaments on the tomb
of the Cardinal du Prat, which is sufficient in itself to give a
character to any one church. But the grand object of interest is a large
sepulchral group in the centre of the choir, to the memory of the
Dauphin and his consort, the parents of Louis XVI. The grace and
classical contour of this monument, which is executed by the well-known
Nicholas Coustou, would excite admiration even in the studio of Canova,
while the deep tone of genuine feeling displayed, particula