THE RHONE TO THE SEINE
This felicitous impression is partly due to the beauty of the old building, and partly also to the fact that it houses a number of small collections, the spoils of local dilettanti, each kept together, however diversified its elements, so that many of the rooms exhibit a charming habitable mingling of old furniture, old porcelain and the small unobtrusive pictures that are painted to be lived with, not glanced up at from a catalogue.
The impression of happy coincidences, of really providential accidents, which gives such life to the bright varied museum, persists and deepens as one passes from it into the town—the astonishing town which seems to sum up in itself almost every phase of French art and history. Even the deep soil of France has hardly another spot where the past grows so thick and so vigorously, where the ancient growths lift such hale heads to the sunlight. The continuity of life at Dijon is as striking as its diversity and its individuality. Old Dijon is not an archipelago of relics in a sea of modern houses: it is like a vascular system, binding the place together in its network of warm veins, and seeming, not to be kept alive, but to be keeping life in the city.
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