I have mentioned that my obliging friend the _amoureux-fou_ handed me over to the doorkeeper of the citadel. I should add that I was at first committed

[Ill.u.s.tration: CARCa.s.sONNE.]

to the wife of this functionary, a stout peasant-woman, who took a key down from a nail, conducted me to a postern door, and ushered me into the presence of her husband. Having just begun his rounds with a party of four persons, he was not many steps in advance. I added myself perforce to this party, which was not brilliantly composed, except that two of its members were gendarmes in full toggery, who announced in the course of our tour that they had been stationed for a year at Carca.s.sonne and had never before had the curiosity to come up to the Cite. There was something brilliant certainly in that. The _gardien_ was an extraordinarily typical little Frenchman, who struck me even more forcibly than the wonders of the inner enceinte; and as I am bound to a.s.sume, at whatever cost to my literary vanity, that there is not the slightest danger of his reading these remarks, I may treat him as public property. With his diminutive stature and his perpendicular spirit, his flushed face, expressive protuberant eyes, high peremptory voice, extreme volubility, lucidity and neatness of utterance, he reminded me of the gentry who figure in the revolutions of his native land. If he was not a fierce little Jacobin, he ought to have been, for I am sure there were many men of his pattern on the Committee of Public Safety. He knew absolutely what he was about, understood the place thoroughly, and constantly reminded his audience of what he himself had done in the way of excavations and reparations. He described himself as the brother of the architect of the work actually going forward (that which has been done since the death of M. Viollet-le-Duc, I suppose he meant), and this fact was more ill.u.s.trative than all the others. It reminded me, as one is reminded at every turn, of the democratic conditions of French life: a man of the people, with a wife _en bonnet_, extremely intelligent, full of special knowledge, and yet remaining essentially of the people and showing his intelligence with a kind of ferocity, of defiance. Such a personage helps one to understand the red radicalism of France, the revolutions, the barricades, the sinister pa.s.sion for theories. (I do not, of course, take upon myself to say that the individual I describe--who can know nothing of the liberties I am taking with him--is actually devoted to these ideals; I only mean that many such devotees must have his qualities.) In just the _nuance_ that I have tried to indicate here it is a terrible pattern of man. Permeated in a high degree by civilisation, it is yet untouched by the desire which one finds in the Englishman, in proportion as he rises in the world, to approximate to the figure of the gentleman. On the other hand, a _nettete_, a faculty of exposition, such as the English gentleman is rarely either blessed or cursed with.

This brilliant, this suggestive warden of Carca.s.sonne marched us about for an hour, haranguing, explaining, ill.u.s.trating as he went; it was a complete little lecture, such as might have been delivered at the Lowell Inst.i.tute, on the manner in which a first-rate _place forte_ used to be attacked and defended. Our peregrinations made it very clear that Carca.s.sonne was impregnable; it is impossible to imagine without having seen them such refinements of immurement, such ingenuities of resistance. We pa.s.sed along the battlements and _chemins de ronde_, ascended and descended towers, crawled under arches, peered out of loopholes, lowered ourselves into dungeons, halted in all sorts of tight places while the purpose of something or other was

[Ill.u.s.tration: CARCa.s.sONNE]

described to us. It was very curious, very interesting; above all it was very pictorial, and involved perpetual peeps into the little crooked, crumbling, sunny, gra.s.sy, empty Cite. In places, as you stand upon it, the great towered and embattled enceinte produces an illusion; it looks as if it were still equipped and defended. One vivid challenge, at any rate, it flings down before you; it calls upon you to make up your mind on the matter of restoration. For myself I have no hesitation; I prefer in every case the ruined, however ruined, to the reconstructed, however splendid. What is left is more precious than what is added; the one is history, the other is fiction; and I like the former the better of the two--it is so much more romantic. One is positive, so far as it goes; the other fills up the void with things more dead than the void itself, inasmuch as they have never had life. After that I am free to say that the restoration of Carca.s.sonne is a splendid achievement. The little custodian dismissed us at last, after having, as usual, inducted us into the inevitable repository of photographs. These photographs are a great nuisance all over the Midi. They are exceedingly bad for the most part; and the worst--those in the form of the hideous little _alb.u.m-panorama_--are thrust upon you at every turn. They are a kind of tax that you must pay; the best way is to pay to be let off. It was not to be denied that there was a relief in separating from our accomplished guide, whose manner of imparting information reminded me of the energetic process by which I had seen mineral waters bottled. All this while the afternoon had grown more lovely; the sunset had deepened, the horizon of hills grown purple; the ma.s.s of the Canigou became more delicate, yet more distinct. The day had so far faded that the interior of the little cathedral was wrapped in twilight, into which the glowing windows projected something of their colour. This church has high beauty and value, but I will spare the reader a presentation of details which I myself had no opportunity to master. It consists of a romanesque nave, of the end of the eleventh century, and a Gothic choir and transepts of the beginning of the fourteenth; and, shut up in its citadel like a precious casket in a cabinet, it seems--or seemed at that hour--to have a sort of double sanct.i.ty. After leaving it and pa.s.sing out of the two circles of walls, I treated myself, in the most infatuated manner, to another walk round the Cite. It is certainly this general impression that is most striking--the impression from outside, where the whole place detaches itself at once from the landscape. In the warm southern dusk it looked more than ever like a city in a fairy tale. To make the thing perfect, a white young moon, in its first quarter, came out and hung just over the dark silhouette. It was hard to come away--to incommode one's self for anything so vulgar as a railway train; I would gladly have spent the evening in revolving round the walls of Carca.s.sonne. But I had in a measure engaged to proceed to Narbonne, and there was a certain magic in that name which gave me strength--Narbonne, the richest city in Roman Gaul.

[Ill.u.s.tration]

Chapter xxiv

[Narbonne]

At Narbonne I took up my abode at the house of a _serrurier mecanicien_, and was very thankful for the accommodation. It was my misfortune to arrive at this ancient city late at night, on the eve of market-day; and market-day at Narbonne is a very serious affair. The inns, on this occasion, are stuffed with wine-dealers; for the country round about, dedicated almost exclusively to Bacchus, has. .h.i.therto escaped the phylloxera. This deadly enemy of the grape is encamped over the Midi in a hundred places; blighted vineyards and ruined proprietors being quite the order of the day. The signs of distress are more frequent as you advance into Provence, many of the vines being laid under water in the hope of washing the plague away. There are healthy regions still, however, and the vintners find plenty to do at Narbonne. The traffic in wine appeared to be the sole thought of the Narbonnais; every one I spoke to had something to say about the harvest of gold that bloomed under its influence. "C'est inoui, monsieur, l'argent qu'il y a dans ce pays. Des gens a qui la vente de leur vin rapporte jusqu'a 500,000 francs par an." That little speech addressed to me by a gentleman at the inn gives the note of these revelations. It must be said that there was little in the appearance either of the town or of its population to suggest the possession of such treasures. Narbonne is a _sale pet.i.te ville_ in all the force of the term, and my first impression on arriving there was an extreme regret that I had not remained for the night at the lovely Carca.s.sonne. My journey from that delectable spot lasted a couple of hours and was performed in darkness--a darkness not so dense, however, but that I was able to make out, as we pa.s.sed it, the great figure of Beziers, whose ancient roofs and towers, cl.u.s.tered on a goodly hill-top, looked as fantastic as you please. I know not what appearance Beziers may present by day, but by night it has quite the grand air. On issuing from the station at Narbonne I found that the only vehicle in waiting was a kind of b.a.s.t.a.r.d tramcar, a thing shaped as if it had been meant to go upon rails; that is, equipped with small wheels, placed beneath it, and with a platform at either end, but destined to rattle over the stones like the most vulgar of omnibuses. To complete the oddity of this conveyance, it was under the supervision, not of a conductor, but of a conductress. A fair young woman with a pouch suspended from her girdle had command of the platform; and as soon as the car was full she jolted us into the town through clouds of the thickest dust I ever have swallowed. I have had occasion to speak of the activity of women in France--of the way they are always in the ascendant; and here was a signal example of their general utility. The young lady I have mentioned conveyed her whole company to the wretched little Hotel de France, where it is to be hoped that some of them found a lodging. For myself, I was informed that the place was crowded from cellar to attic, and that its inmates were sleeping three or four in a room. At Carca.s.sonne I should have had a bad bed, but at Narbonne, apparently, I was to have no bed at all. I pa.s.sed an hour or two of flat suspense while fate settled the question of whether I should go on to Perpignan, return to Beziers, or still discover a modest couch at Narbonne. I shall not have suffered in vain, however, if my example serves to deter other travellers from alighting unannounced at that city on a Wednesday evening. The retreat to Beziers, not attempted in time, proved impossible, and I was a.s.sured that at Perpignan, which I should not reach till midnight, the affluence of wine-dealers was not less than at Narbonne. I interviewed every hostess in the town, and got no satisfaction but distracted shrugs. Finally, at an advanced hour, one of the servants of the Hotel de France, where I had attempted to dine, came to me in triumph to proclaim that he had secured for me a charming apartment in a _maison bourgeoise_. I took possession of it gratefully, in spite of its having an entrance like a stable and being pervaded by an odour compared with which that of a stable would have been delicious.

As I have mentioned, my landlord was a locksmith, and he had strange machines which rumbled and whirred in the rooms below my own.

Nevertheless I slept, and I dreamed of Carca.s.sonne. It was better to do that than to dream of the Hotel de France. I was obliged to cultivate relations with the cuisine of this establishment. Nothing could have been more _meridional_; indeed, both the dirty little inn and Narbonne at large seemed to me to have the infirmities of the south without its usual graces. Narrow, noisy, shabby, belittered and enc.u.mbered, filled with clatter and chatter, the Hotel de France would have been described in perfection by Alphonse Daudet. For what struck me above all in it was the note of the Midi as he has represented it--the sound of universal talk. The landlord sat at supper with sundry friends in a kind of gla.s.s cage, with a genial indifference to arriving guests; the waiters tumbled over the loose luggage in the hall; the travellers who had been turned away leaned gloomily against door-posts; and the landlady, surrounded by confusion, unconscious of responsibility, and animated only by the spirit of conversation, bandied high-voiced compliments with the _voyageurs de commerce_. At ten o'clock in the morning there was a table d'hote for breakfast--a wonderful repast, which overflowed into every room and pervaded the whole establishment. I sat down with a hundred hungry marketers, fat, brown, greasy men, with a good deal of the rich soil of Languedoc adhering to their hands and their boots. I mention the latter articles because they almost put them on the table. It was very hot, and there were swarms of flies; the viands had the strongest odour; there was in particular a horrible mixture known as _gras-double_, a light grey, glutinous, nauseating mess, which my companions devoured in large quant.i.ties. A man opposite to me had the dirtiest fingers I ever saw; a collection of fingers which in England would have excluded him from a farmers' ordinary. The conversation was mainly bucolic; though a part of it, I

[Ill.u.s.tration: NARBONNE--THE WASHING PLACE]

remember, at the table at which I sat, consisted of a discussion as to whether or no the maid-servant were _sage_--a discussion which went on under the nose of this young lady, as she carried about the dreadful _gras-double_, and to which she contributed the most convincing blushes.

It was thoroughly _meridional_.

In going to Narbonne I had of course counted upon Roman remains; but when I went forth in search of them I perceived that I had hoped too fondly. There is really nothing in the place to speak of; that is, on the day of my visit there was nothing but the market, which was in complete possession. "This intricate, curious, but lifeless town,"

Murray calls it; yet to me it appeared overflowing with life. Its streets are mere crooked, dirty lanes, bordered with perfectly insignificant houses; but they were filled with the same clatter and chatter that I had found at the hotel. The market was held partly in the little square of the hotel de ville, a structure which a flattering woodcut in the Guide-Joanne had given me a desire to behold. The reality was not impressive, the old colour of the front having been completely restored away. Such interest as it superficially possesses it derives from a fine mediaeval tower which rises beside it with turrets at the angles--always a picturesque thing. The rest of the market was held in another _place_, still shabbier than the first, which lies beyond the ca.n.a.l. The Ca.n.a.l du Midi flows through the town, and, spanned at this point by a small suspension-bridge, presented a certain sketchability.

On the farther side were the vendors and chafferers--old women under awnings and big umbrellas, rickety tables piled high with fruit, white caps and brown faces, blouses, sabots, donkeys. Beneath this picture was another--a long row of washerwomen, on their knees on the edge of the ca.n.a.l, pounding and wringing the dirty linen of Narbonne--no great quant.i.ty, to judge by the costume of the people. Innumerable rusty men, scattered all over the place, were buying and selling wine, straddling about in pairs, in groups, with their hands in their pockets, and packed together at the doors of the cafes. They were mostly fat and brown and unshaven; they ground their teeth as they talked; they were very _meridionaux_.

The only two lions at Narbonne are the cathedral and the museum, the latter of which is quartered in the hotel de ville. The cathedral, closely shut in by houses and with the west front undergoing repairs, is singular in two respects. It consists exclusively of a choir, which is of the end of the thirteenth century and the beginning of the next, and of great magnificence. There is absolutely nothing else. This choir, of extraordinary elevation, forms the whole church. I sat there a good while; there was no other visitor. I had taken a great dislike to poor little Narbonne, which struck me as sordid and overheated, and this place seemed to extend to me, as in the Middle Ages, the privilege of sanctuary. It is a very solemn corner. The other peculiarity of the cathedral is that, externally, it bristles with battlements, having anciently formed part of the defences of the _archeveche_, which is beside it and which connects it with the hotel de ville. This combination of the church and the fortress is very curious, and during the Middle Ages was not without its value. The palace of the former archbishops of Narbonne (the hotel de ville of to-day forms part of it) was both an asylum and an a.r.s.enal during the hideous wars by which all Languedoc was ravaged in the thirteenth century. The whole ma.s.s of buildings

[Ill.u.s.tration: NARBONNE--THE CATHEDRAL AND HoTEL DE VILLE.]

is jammed together in a manner that from certain points of view makes it far from apparent which feature is which. The museum occupies several chambers at the top of the hotel de ville, and is not an imposing collection. It was closed, but I induced the portress to let me in--a silent, cadaverous person, in a black coif, like a _beguine_, who sat knitting in one of the windows while I went the rounds. The number of Roman fragments is small, and their quality is not the finest; I must add that this impression was hastily gathered. There is, indeed, a work of art in one of the rooms which creates a presumption in favour of the place--the portrait (rather a good one) of a citizen of Narbonne, whose name I forget, who is described as having devoted all his time and his intelligence to collecting the objects by which the visitor is surrounded. This excellent man was a connoisseur, and the visitor is doubtless often an ignoramus.

[Ill.u.s.tration]

Chapter xxv

"Cette, with its glistening houses white, Curves with the curving beach away To where the lighthouse beacons bright, Far in the bay."

[Montpellier]

That stanza of Matthew Arnold's, which I happened to remember, gave a certain importance to the half-hour I spent in the buffet of the station at Cette while I waited for the train to Montpellier. I had left Narbonne in the afternoon, and by the time I reached Cette the darkness had descended. I therefore missed the sight of the glistening houses, and had to console myself with that of the beacon in the bay, as well as with a _bouillon_ of which I partook at the buffet aforesaid; for, since the morning, I had not ventured to return to the table d'hote at Narbonne. The Hotel Nevet at Montpellier, which I reached an hour later, has an ancient renown all over the south of France--advertises itself, I believe, as _le plus vastedu midi_. It seemed to me the model of a good provincial inn; a big rambling, creaking establishment, with brown, labyrinthine corridors, a queer old open-air vestibule, into which the diligence, in the _bon temps_, used to penetrate, and an hospitality more expressive than that of the new caravansaries. It dates from the days when Montpellier was still accounted a fine winter residence for people with weak lungs; and this rather melancholy tradition, together with the former celebrity of the school of medicine still existing there, but from which the glory has departed, helps to account for its combination of high antiquity and vast proportions. The old hotels were usually more concentrated; but the school of medicine pa.s.sed for one of the attractions of Montpellier. Long before Mentone was discovered or Colorado invented, British invalids travelled down through France in the post-chaise or the public coach, to spend their winters in the wonderful place which boasted both a climate and a faculty. The air is mild, no doubt, but there are refinements of mildness which were not then suspected, and which in a more a.n.a.lytic age have carried the annual wave far beyond Montpellier. The place is charming, all the same; and it served the purpose of John Locke, who made a long stay there, between 1675 and 1679, and became acquainted with a n.o.ble fellow-visitor, Lord Pembroke, to whom he dedicated the famous Essay. There are places that please without your being able to say wherefore, and Montpellier is one of the number. It has some charming views, from the great promenade of the Peyrou; but its position is not strikingly fine. Beyond this it contains a good museum and the long facades of its school, but these are its only definite treasures. Its cathedral struck me as quite the weakest I had seen, and I remember no other monument that made up for it. The place has neither the gaiety of a modern nor the solemnity of an ancient town, and it is agreeable as certain women are agreeable who are neither beautiful nor clever. An Italian would remark that it is sympathetic; a German would admit that it is _gemuthlich_. I spent two days there, mostly in the rain, and even under these circ.u.mstances I carried away a kindly impression. I think the Hotel Nevet had something to do with it, and the sentiment of relief with which, in a quiet, even a luxurious, room that looked out on a garden, I reflected that I had washed my hands of Narbonne. The phylloxera has destroyed the vines in the country that surrounds Montpellier, and at that moment I was capable of rejoicing in the thought that I should not breakfast with vintners.

The gem of the place is the Musee Fabre, one of the best collections of paintings in a provincial city. Francois Fabre, a native of Montpellier, died there in 1837, after having spent a considerable part of his life in Italy, where he had collected a good many valuable pictures and some very poor ones, the latter cla.s.s including several from his own hand. He was the hero of a remarkable episode, having succeeded no less a person than Vittorio Alfieri in the affections of no less a person than Louise de s...o...b..rg, Countess of Albany, widow of no less a person than Charles Edward Stuart, the second pretender to the British crown. Surely no woman ever was a.s.sociated sentimentally with three figures more diverse--a disqualified sovereign, an Italian dramatist, and a bad French painter. The productions of M. Fabre, who followed in the steps of David, bear the stamp of a cold mediocrity; there is not much to be said even for the portrait of the genial countess (her life has been written by M. Saint-Rene-Taillandier, who depicts her as delightful), which hangs in Florence, in the gallery of the Uffizzi, and makes a pendant to a likeness of Alfieri by the same author. Stendhal, in his "Memoires d'un Touriste," says that this work of art represents her as a cook who has pretty hands. I am delighted to having an opportunity of quoting Stendhal, whose two volumes of the "Memoires d'un Touriste"

every traveller in France should carry in his portmanteau. I have had this opportunity more than once, for I have met him at Tours, at Nantes, at Bourges; and everywhere he is suggestive. But he has the defect that he is never pictorial, that he never by any chance makes an image, and that his style is perversely colourless for a man so fond of contemplation. His taste is often singularly false; it is the taste of the early years of the present century, the period that produced clocks surmounted with sentimental "subjects." Stendhal does not admire these clocks, but he almost does. He admires Domenichino and Guercino, he prizes the Bolognese school of painters because they "spoke to the soul." He is a votary of the new cla.s.sic, is fond of tall, square, regular buildings, and thinks Nantes, for instance, full of the "air n.o.ble." It was a pleasure to me to reflect that five-and-forty years ago he had alighted in that city, at the very inn in which I spent a night and which looks down on the Place Graslin and the theatre. The hotel that was the best in 1837 appears to be the best to-day. On the subject of Touraine Stendhal is extremely refreshing; he finds the scenery meagre and much overrated, and proclaims his opinion with perfect frankness. He does, however, scant justice to the banks of the Loire; his want of appreciation of the picturesque--want of the sketcher's sense--causes him to miss half the charm of a landscape which is nothing if not "quiet," as a painter would say, and of which the felicities reveal themselves only to waiting eyes. He even despises the Indre, the river of Madame Sand. The "Memoires d'un Touriste" are written in the character of a commercial traveller, and the author has nothing to say about Chenonceaux or Chambord, or indeed about any of the chateaux of that part of France; his system being to talk only of the large towns, where he may be supposed to find a market for his goods. It was his ambition to pa.s.s for an ironmonger. But in the large towns he is usually excellent company, though as discursive as Sterne and strangely indifferent, for a man of imagination, to those superficial aspects of things which the poor pages now before the reader are mainly an attempt to render. It is his conviction that Alfieri, at Florence, bored the Countess of Albany terribly; and he adds that the famous Gallophobe died of jealousy of the little painter from Montpellier. The Countess of Albany left her property to Fabre; and I suppose some of the pieces in the museum of his native town used to hang in the sunny saloons of that fine old palace on the Arno which is still pointed out to the stranger in Florence as the residence of Alfieri.

The inst.i.tution has had other benefactors, notably a certain M. Bruyas, who has enriched it with an extraordinary number of portraits of himself. As these, however, are by different hands, some of them distinguished, we may suppose that it was less the model than the artists to whom M. Bruyas wished to give publicity. Easily first are two large specimens of David Teniers, which are incomparable for brilliancy and a glowing perfection of execution. I have a weakness for this singular genius, who combined the delicate with the grovelling, and I have rarely seen richer examples. Scarcely less valuable is a Gerard Dow which hangs near them, though it must rank lower, as having kept less of its freshness. This Gerard Dow did me good, for a master is a master, whatever he may paint. It represents a woman paring carrots, while a boy before her exhibits a mouse-trap in which he has caught a frightened victim. The goodwife has spread a cloth on the top of a big barrel which serves her as a table, and on this brown, greasy napkin, of which the texture is wonderfully rendered, lie the raw vegetables she is preparing for domestic consumption. Beside the barrel is a large caldron lined with copper, with a rim of bra.s.s. The way these things are painted brings tears to the eyes; but they give the measure, of the Musee Fabre, where two specimens of Teniers and a Gerard Dow are the jewels. The Italian pictures are of small value; but there is a work by Sir Joshua Reynolds, said to be the only one in France--an infant Samuel in prayer, apparently a repet.i.tion of the picture in England which inspired the little plaster image, disseminated in Protestant lands, that we used to admire in our childhood. Sir Joshua, somehow, was an eminently Protestant painter; no one can forget that, who in the National Gallery in London has looked at the picture in which he represents several young ladies as nymphs, voluminously draped, hanging garlands over a statue--a picture suffused indefinably with the Anglican spirit and exasperating to a member of one of the Latin races. It is an odd chance therefore that has led him into that part of France where Protestants have been least _bien vus_. This is the country of the dragonnades of Louis XIV.

and of the pastors of the desert. From the garden of the Peyrou, at Montpellier, you may see the hills of the Cevennes, to which they of the religion fled for safety and out of which they were hunted and harried.

I have only to add, in regard to the Musee Fabre, that it contains the portrait of its founder--a little, pursy, fat-faced, elderly man, whose countenance contains few indications of the power that makes distinguished victims. He is, however, just such a personage as the mind's eye sees walking on the terrace of the Peyrou of an October afternoon in the early years of the century; a plump figure in a chocolate-coloured coat and a _culotte_ that exhibits a good leg--a culotte provided with a watch-fob from which a heavy seal is suspended.

This Peyrou (to come to it at last) is a wonderful place, especially to be found in a little provincial city. France is certainly the country of towns that aim at completeness; more than in other lands they contain stately features as a matter of course. We should never have ceased to hear about the Peyrou if fortune had placed it at a Shrewsbury or a Buffalo. It is true that the place enjoys a certain celebrity at home, which it amply deserves, moreover; for nothing could be more impressive and monumental. It consists of an "elevated platform," as Murray says--an immense terrace laid out, in the highest part of the town, as a garden, and commanding in all directions a view which in clear weather must be of the finest. I strolled there in the intervals of showers, and saw only the nearer beauties--a great pompous arch of triumph in honour of Louis XIV. (which is not, properly speaking, in the garden, but faces it, straddling across the _place_ by which you approach it from the town), an equestrian statue of that monarch set aloft in the middle of the terrace, and a very exalted and complicated fountain, which forms a background to the picture. This fountain gushes from a kind of hydraulic temple, or _chateau d'eau_, to which you ascend by broad flights of steps, and which is fed by a splendid aqueduct, stretched in the most ornamental and unexpected manner across the neighbouring valley. All this work dates from the middle of the last century. The combination of features--the triumphal arch, or gate; the wide fair terrace, with its beautiful view; the statue of the grand monarch; the big architectural fountain, which would not surprise one at Rome, but does surprise one at Montpellier; and to complete the effect, the extraordinary aqueduct, charmingly fore-shortened--all this is worthy of a capital, of a little court-city. The whole place, with its repeated steps, its bal.u.s.trades, its ma.s.sive and plentiful stonework, is full of the air of the last century--_sent bien son dix-huitieme siecle_; none the less so, I am afraid, that, as I read in my faithful Murray, after the revocation of the Edict of Nantes the block, the stake, the wheel had been erected here for the benefit of the desperate Camisards.

[Ill.u.s.tration]

Chapter xxvi

[The Pont du Gard]

It was a pleasure to feel one's self in Provence again--the land where the silver-grey earth is impregnated with the light of the sky. To celebrate the event, as soon as I arrived at Nimes I engaged a caleche to convey me to the Pont du Gard. The day was yet young and was exceptionally fair; it appeared well, for a longish drive, to take advantage, without delay, of such security. After I had left the town I became more intimate with that Provencal charm which I had already enjoyed from the window of the train, and which glowed in the sweet sunshine and the white rocks and lurked in the smoke puffs of the little olives. The olive-trees in Provence are half the landscape. They are neither so tall, so stout, nor so richly contorted as you have seen them beyond the Alps; but this mild colourless bloom seems the very texture of the country. The road from Nimes, for a distance of fifteen miles, is superb; broad enough for an army and as white and firm as a dinner-table. It stretches away over undulations which have a kind of rhythmic value, and in the curves it makes through the wide, free country, where there is never a hedge or a wall and the detail is always exquisite, there is something majestic, almost processional. Some twenty minutes before I reached the little inn that marks the termination of the drive my vehicle met with an accident which just missed being serious, and which engaged the attention of a gentleman who, followed by his groom and mounted on a strikingly handsome horse, happened to ride up at the moment. This young man, who, with his good looks and charming manner, might have stepped out of a novel of Octave Feuillet, gave me some very intelligent advice in reference to one of my horses that had been injured, and was so good as to accompany me to the inn, with the resources of which he was acquainted, to see that his recommendations were carried out. The result of our interview was that he invited me to come and look at a small but ancient chateau in the neighbourhood, which he had the happiness--not the greatest in the world, he intimated--to inhabit, and at which I engaged to present myself after I should have spent an hour at the Pont du Gard. For the moment, when we separated, I gave all my attention to that great structure. You are very near it before you see it; the ravine it spans suddenly opens and exhibits the picture. The scene at this point grows extremely beautiful. The ravine is the valley of the Garden, which the road from Nimes has followed some time without taking account of it, but which, exactly at the right distance from the aqueduct, deepens and expands and puts on those characteristics which are best suited to give it effect.

The gorge becomes romantic, still and solitary, and, with its white rocks and wild shrubbery, hangs over the clear-coloured river, in whose slow course there is, here and there, a deeper pool. Over the valley, from side to side and ever so high in the air, stretch the three tiers of the tremendous bridge. They are unspeakably imposing, and nothing could well be more Roman. The hugeness, the solidity, the unexpectedness, the monumental rect.i.tude of the whole thing leave you nothing to say--at the time--and make you stand gazing. You simply feel that it is n.o.ble and perfect, that it has the quality of greatness. A road, branching from the highway, descends to the level of the river and pa.s.ses under one of the arches. This road has a wide margin of gra.s.s and loose stones, which slopes upward into the bank of the ravine. You may sit here as long as you please, staring up at the light, strong piers; the spot is sufficiently "wild," though two or three stone benches have been erected on it. I remained there an hour and got a complete impression; the place was perfectly soundless and, for the time at least, lonely; the splendid afternoon had begun to fade, and there was a fascination in the object I had come to see. It came to pa.s.s that at the same time I discovered in it a certain stupidity, a vague brutality.

That element is rarely absent from great Roman work, which is wanting in the nice adaptation of the means to the end. The means are always exaggerated; the end is so much more than attained. The Roman rigour was apt to overshoot the mark, and I suppose a race which could do nothing small is as defective as a race that can do nothing great. Of this Roman rigour the Pont du Gard is an admirable example. It would be a great injustice, however, not to insist upon its

[Ill.u.s.tration: THE PONT DU GARD.]

beauty--a kind of manly beauty, that of an object constructed not to please but to serve, and impressive simply from the scale on which it carries out this intention. The number of arches in each tier is different; they are smaller and more numerous as they ascend. The preservation of the thing is extraordinary; nothing has crumbled or collapsed; every feature remains, and the huge blocks of stone, of a brownish-yellow (as if they had been baked by the Provencal sun for eighteen centuries), pile themselves, without mortar or cement, as evenly as the day they were laid together. All this to carry the water of a couple of springs to a little provincial city! The conduit on the top has retained its shape and traces of the cement with which it was lined. When the vague twilight began to gather, the lonely valley seemed to fill itself with the shadow of the Roman name, as if the mighty empire were still as erect as the supports of the aqueduct; and it was open to a solitary tourist, sitting there sentimental, to believe that no people has ever been, or will ever be, as great as that, measured, as we measure the greatness of an individual, by the push they gave to what they undertook. The Pont du Gard is one of the three or four deepest impressions they have left; it speaks of them in a manner with which they might have been satisfied.

I feel as if it were scarcely discreet to indicate the whereabouts of the chateau of the obliging young man I had met on the way from Nimes; I must content myself with saying that it nestled in an enchanting valley--_dans le fond_, as they say in France--and that I took my course thither on foot after leaving the Pont du Gard. I find it noted in my journal as "an adorable little corner." The princ.i.p.al feature of the place is a couple of very ancient towers, brownish-yellow in hue, and mantled in scarlet Virginia-creeper. One of these towers, reputed to be of Saracenic origin, is isolated, and is only the more effective; the other is incorporated in the house, which is delightfully fragmentary and irregular. It had got to be late by this time, and the lonely _castel_ looked crepuscular and mysterious. An old housekeeper was sent for, who showed me the rambling interior; and then the young man took me into a dim old drawing-room, which had no less than four chimney-pieces, all unlighted, and gave me a refection of fruit and sweet wine. When I praised the wine and asked him what it was, he said simply "C'est du vin de ma mere!" Throughout my little journey I had never yet felt myself so far from Paris; and this was a sensation I enjoyed more than my host, who was an involuntary exile, consoling himself with laying out a _manege_ which he showed me as I walked away. His civility was great, and I was greatly touched by it. On my way back to the little inn where I had left my vehicle I pa.s.sed the Pont du Gard and took another look at it. Its great arches made windows for the evening sky, and the rocky ravine, with its dusky cedars and shining river, was lonelier than before. At the inn I swallowed, or tried to swallow, a gla.s.s of horrible wine with my coachman; after which, with my reconstructed team, I drove back to Nimes in the moonlight. It only added a more solitary whiteness to the constant sheen of the Provencal landscape.

[Ill.u.s.tration]

Chapter xxvii

[Aigues-Mortes]

The weather the next day was equally fair, so that it seemed an imprudence not to make sure of Aigues-Mortes. Nimes itself could wait; at a pinch I could attend to Nimes in the rain. It was my belief that Aigues-Mortes was a little gem, and it is natural to desire that gems should have an opportunity to sparkle. This is an excursion of but a few hours, and there is a little friendly, familiar, dawdling train that will convey you, in time for a noonday breakfast, to the small dead town where the blessed Saint Louis twice embarked for the Crusades. You may get back to Nimes for dinner; the run--or rather the walk, for the train doesn't run--is of about an hour. I found the little journey charming and looked out of the carriage window, on my right, at the distant Cevennes, covered with tones of amber and blue, and, all around, at vineyards red with the touch of October. The grapes were gone, but the plants had a colour of their own.

Within a certain distance of Aigues-Mortes they give place to wide salt-marshes, traversed by two ca.n.a.ls; and over this expanse the train rumbles slowly upon a narrow causeway, failing for some time, though you know you are near the object of your curiosity, to bring you to sight of anything but the horizon. Suddenly it appears, the towered and embattled ma.s.s, lying so low that the crest of its defences seems to rise straight out of the ground; and it is not till the train stops close before them that you are able to take the full measure of its walls.

Aigues-Mortes stands on the edge of a wide _etang_, or shallow inlet of the sea, the farther side of which is divided by a narrow band of coast from the Gulf of Lyons. Next after Carca.s.sonne, to which it forms an admirable _pendant_, it is the most perfect thing of the kind in France.