The cathedral is not the only lion of Bourges; the house of Jacques Coeur awaits you in posture scarcely less leonine. This remarkable man had a very strange history, and he too was "broken" like the wretched soldier whom I did not stay to see. He has been rehabilitated, however, by an age which does not fear the imputation of paradox, and a marble statue of him ornaments the street in front of his house. To interpret him according to this image--a womanish figure in a long robe and a turban, with big bare arms and a dramatic pose--would be to think of him as a kind of truculent sultana. He wore the dress of his period, but his spirit was very modern; he was a Vanderbilt or a Rothschild of the fifteenth century. He supplied the ungrateful Charles VII. with money to pay the troops who, under the heroic Maid, [Illustration: Bourges--THE HOUSE OF JACQUES COEUR] drove the English from French soil. His house, which to-day is used as a Palais de Justice, appears to have been regarded at the time it was built very much as the residence of Mr. Vanderbilt is regarded in New York to-day. It stands on the edge of the hill on which most of the town is planted, so that, behind, it plunges down to a lower level, and, if you approach it on that side, as I did, to come round to the front of it you have to ascend a longish flight of steps. The back, of old, must have formed a portion of the city wall; at any rate it offers to view two big towers which Joanne says were formerly part of the defence of Bourges. From the lower level of which I speak--the square in front of the post-office--the palace of Jacques Coeur looks very big and strong and feudal; from the upper street, in front of it, it looks very handsome and delicate. To this street it presents two tiers and a considerable length of façade; and it has both within and without a great deal of curious and beautiful detail. Above the portal, in the stonework, are two false windows, in which two figures, a man and a woman, apparently household servants, are represented, in sculpture, as looking down into the street. The effect is homely, yet grotesque, and the figures are sufficiently living to make one commiserate them for having been condemned, in so dull a town, to spend several centuries at the window. They appear to be watching for the return of their master, who left his beautiful house one morning and never came back.