Summary

Portrait of Thomas A. Janvier Thomas A. Janvier The Christmas Kalends of Provence

Beside those fateless candles were the harvest harbingers, the plates on which was growing Saint Barbara's grain—so vigorous and so freshly green that old Jan rubbed his hands together comfortably as he said to the Vidame: "Ah, we need have no fears for the [85] harvest that is coming in this blessed year!" In the centre of the table, its browned crust slashed with a cross, was the great loaf of Christmas bread, pan Calendau; on which was a bunch of holly tied with the white pith of rushes—the "marrow" of the rush, that is held to be an emblem of strength.
Source: Gutenberg

Portrait of Thomas A. Janvier Thomas A. Janvier The Christmas Kalends of Provence

It is from Avignon, out by the Porte Saint Lazare, that the start for Bethlehem is made by his pilgrim company; the Provençal music plays to cheer them; they stamp their feet and swing their arms about, because the mistral is blowing and they are desperately cold. It is a simplicity half laughable, half pathetic—such as is found in those Mediæval pictures which represent the Apostles or the Holy Family in the garb of the artist's own time and country, and above the walls of Bethlehem the church spire of his own town.
Source: Gutenberg

Portrait of Thomas A. Janvier Thomas A. Janvier The Christmas Kalends of Provence

The crèche, around which the children were gathered in a swarm, was built up in one corner; and our coming was the signal for the first of the ceremonies, the lighting of the crèche candles, to begin. In this all the children had a part—making rather a scramble of it, for there was rivalry as to which of them should light the most—and in a moment a constellation of little flames covered the Bethlehem hill-side and brought into bright prominence the Holy Family and its strange attendant host of quite impossible people and beasts and birds.
Source: Gutenberg

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